Ultima semana del mes, y un pequeño cambio, ahora no sera el jueves, SERA EL VIERNES 31 la sesión progresiva correspondiente al mes de octubre.
Este mes dos discos bastante distantes pero dentros del progresivoArrancamos con algo clasico, setentero, desde Suecia DICE con su album debut THE FOUR RIDERS OF THE APOCALYPSE, y la otra selección es algo mucho mas nuevo, una banda que anduvo de gira con Dream Theater y Opeth y el proximo mes estara en la ciudad, BETWEEN THE BURIED AND ME y su fantastico disco COLORS
Ya saben la mecanica, cada quien lleva su bebida y si quieren aportar algo de material, Bienvendios!!!
VIERNES 31 OCT, 19:00 HRS
MATAMROS 746 (esq con Vallarta)CENTRO DE MONTERREY
DICE / THE FOUR RIDES OF THE APOCALYPSE
This symphonic album from Sweden, characterized by a complex suite, is one of the most underrated albums of late seventies, a great and important reference too, regarding some Swedish bands such as ANGLAGARD, SINKADUS and FLOWER KINGS. Naturally the focus is more on the instrumental passages than on the vocals, but the output is anyway excellent. The problem regarding the weak vocalist was quite important within their second album, dated 1978 and simply entitled "DICE"; instead the present first jewel, released on 1977 and issued on CD on 1992, except on a few prolix parts, is highly recommended.
BETWEEN THE BURIED AND ME / COLORS
At first glance of listening to Between the Buried and Me all I thought was of another Death Metal band. I had to listen to this album for about a couple of weeks to understand the complexity, the incredible musicianship that these fellows offer. I honestly fell in love with their music. It’s incredible what these guys do. A mix between extreme metal and progressive rock, done in a very good way. At the beginning the songs don’t have that much of a very catchy rhythm but deep inside their songs there are some pretty good parts fit right into it. The first song (sort of an intro) its shows like a resume of how the album is. The rhythm changes a couple of times and it’s really good how it turns from a good side to a darker fast paced metal. The song that really caught my ear it has to be Ants in the Sky especially after the first 8 minutes when it say “Sleep on, fly away, in your mind you can fly”. After this particular part you can listen to Opeth like guitar part solo like. Also this song has a part that reminds me of Dream Theater Beyond this Life. As a matter as a fact many of the songs of Colors have “Dream Theaterish” parts and many sorts and different kinds of metal and rock. In overall the album is great but could have used less death grunts and more normal vocals, besides that I don’t have an issue with this album. I seriously have no words to describe this album, its fast, it’s mean and best of all it’s really good music. It really came to me as a surprise, since I’m not a big fan of death metal. Love what these guys can really do with the term good music. A 2007 master piece! burritounit
fuente: www.progarchives.com
viernes, 31 de octubre de 2008
martes, 23 de septiembre de 2008
Sesion Progresiva Sep'08
Ultima semana del mes, ultimo jueves y la obligada sesion progresiva.
Este mes como homenaje postumo pondremos algo de lo que dejo el maestro Richard Wright en dvd. Pink Floyd live at Pompeii.
Aparte nos aventaremos el disco con la peor portada, Smile a while de la banda alemana Brainstorm. Y el ultimo aporte, algo alejado del progresiva, pero muy de la onda Avant-Garde. Mr. Bungle y su Disco Volante.
Ya saben, cada quien lleva su bebida y si quieres compartir algun material... bienvenido!!!
JUEVES 25 DE SEPT, 20:00 HRS
MATAMOROS 746 ESQ. CON VALLARTA
Este mes como homenaje postumo pondremos algo de lo que dejo el maestro Richard Wright en dvd. Pink Floyd live at Pompeii.
Aparte nos aventaremos el disco con la peor portada, Smile a while de la banda alemana Brainstorm. Y el ultimo aporte, algo alejado del progresiva, pero muy de la onda Avant-Garde. Mr. Bungle y su Disco Volante.
Ya saben, cada quien lleva su bebida y si quieres compartir algun material... bienvenido!!!
JUEVES 25 DE SEPT, 20:00 HRS
MATAMOROS 746 ESQ. CON VALLARTA
martes, 26 de agosto de 2008
Sesion Progresiva Agosto'08
Ultimo jueves del mes y la acostumbrada sesion progresiva, esta vez dedicada a bandas hispanoparlantes. De la madre patria, CONTINUO RENACER, una fusion de jazz, metal, avant-garde, RIO muy buena. Y desde Chile, TRYO, de lo mejor del prog chileno.
Nos vemos el jueve, ya saben, cada quien lleva su bebida y si quieren llevar mas material para compartir... bienvenidos!!!
Coninuo Renacer - Continuo Renacer
Esto es Fusiòn y no pedazos!!
Esto es un Power Trio del Siglo XXI!!
Asì se toca chingada madre!!
Estos españolitos ya son bastante conocidos en la esfera progresiva mundial en base a su disco debut homònimo, pues vaya pedazo de Masterpiece que se mandaron a hacer!! Jamàs pensè hallar en España algo decente en cuanto a Progresivo se refiere, pero despuès de escuchar a October Equus (de quienes prontito viene su Post en el blog) me quedè con la espina de buscar màs de las tierras hispanas.
Jazz, Metal, RIO, Progresivo, Rock, todo elevado a la potencia de la mejor fusiòn que puedan hallar por estos dias. Es de verdad pasmosa la velocidad, sincronizaciòn y capacidad retentiva de estos jòvenes para tejer semejante laberinto de ritmos frenèticos y deliciosos.
No dejen de descargarse esta gema!! En este año sale el nuevo material de Continuo Renacer y desde ya lo espero ansioso.
CONTINUO RENACER - CONTINUO RENACER 2005.
Line-Up:
Arkaitz "Kako" Carrasco : Bass
Javier Guttiérez : Guitar
Imanol Aizpuru : Drums
http://sanjamasdelosjamaces.blogspot.com/2008/04/continuo-renacer-idem.html
Tryo - Patrimonio
Tryo’s third album is certainly a most valuable patrimony from Chile to the world of prog rock: “Patrimonio” shows a band that has already dealt with their influences in a constructive way, and finally conquered their own ultimate voice. The dose of sonic power in this album’s repertoire is not as directly overwhelming as in their impressive debut recording, yet it would be inaccurate to state that their sound is less strong or less energetic. On the contrary, their musical power is as astounding as always: only the threesome have grown wiser through the years, and this fact led them to incorporate a wider array of musical sources in a most coherent and skillful manner. As a living proof for this, the listener is first offered the four part suite ‘Valparaiso Patrimonio’ that kicks off the album: starting with a predominant jazz-pop mood in track 1, the next three combine the academic exquisiteness of chamber music and the special magic of Latin American folklore. Basically, the trio’s main intention here is explore more meticulously into their acoustic sensibility in order to polish their skill and finesse… and the result is unequivocal – they succeeded at that! More of this comes later in ‘Danza del Furor’, an incredibly delicate tour- de-force of cello, guitar and vibes. This somewhat softened attitude is soon abandoned in favor of the elaboration of density, tension and electric fire: ‘Camino’ is a brief ad-lib soundscape of guitar, bass and cymbals that serves as a prelude to the up tempo ambience of ‘Contrastes’, a compromise of hard rock and funky-driven jazz with a slight Crimsonian twist. It’s such a pity that this good piece is so short (it only lasts 2 minutes and a half, actually shorter than the previous number). But that’s not the problem with the following track, the much stronger ‘Recuadros’, which in my opinion stands out as the most brilliant gem in the album: this piece shows how well has the band’s renewed exquisiteness has served in order to allow the band develop their own prog voice regarding their electric facet. The same goes for ‘Estudio’ (again, so good and too short), ‘Justicia’, ‘Grietas’, and the Led Zep-esque concise closure aptly entitled ‘Epílogo’. Overall balance: an excellent prog rock repertoire split between the heat of rock, oiled by the clever dexterity of jazz, and the candid beauty of acoustic sensibility, seasoned by chamber stuff. “Patrimonio” must be enjoyed as what it is, a manifesto of artistic maturity, a maturity soon to be confirmed and enhanced in their following album “Dos Mundos” – but that’s another story…
CESAR INCA
www.progarchives.com
Nos vemos el jueve, ya saben, cada quien lleva su bebida y si quieren llevar mas material para compartir... bienvenidos!!!
Coninuo Renacer - Continuo Renacer
Esto es Fusiòn y no pedazos!!
Esto es un Power Trio del Siglo XXI!!
Asì se toca chingada madre!!
Estos españolitos ya son bastante conocidos en la esfera progresiva mundial en base a su disco debut homònimo, pues vaya pedazo de Masterpiece que se mandaron a hacer!! Jamàs pensè hallar en España algo decente en cuanto a Progresivo se refiere, pero despuès de escuchar a October Equus (de quienes prontito viene su Post en el blog) me quedè con la espina de buscar màs de las tierras hispanas.
Jazz, Metal, RIO, Progresivo, Rock, todo elevado a la potencia de la mejor fusiòn que puedan hallar por estos dias. Es de verdad pasmosa la velocidad, sincronizaciòn y capacidad retentiva de estos jòvenes para tejer semejante laberinto de ritmos frenèticos y deliciosos.
No dejen de descargarse esta gema!! En este año sale el nuevo material de Continuo Renacer y desde ya lo espero ansioso.
CONTINUO RENACER - CONTINUO RENACER 2005.
Line-Up:
Arkaitz "Kako" Carrasco : Bass
Javier Guttiérez : Guitar
Imanol Aizpuru : Drums
http://sanjamasdelosjamaces.blogspot.com/2008/04/continuo-renacer-idem.html
Tryo - Patrimonio
Tryo’s third album is certainly a most valuable patrimony from Chile to the world of prog rock: “Patrimonio” shows a band that has already dealt with their influences in a constructive way, and finally conquered their own ultimate voice. The dose of sonic power in this album’s repertoire is not as directly overwhelming as in their impressive debut recording, yet it would be inaccurate to state that their sound is less strong or less energetic. On the contrary, their musical power is as astounding as always: only the threesome have grown wiser through the years, and this fact led them to incorporate a wider array of musical sources in a most coherent and skillful manner. As a living proof for this, the listener is first offered the four part suite ‘Valparaiso Patrimonio’ that kicks off the album: starting with a predominant jazz-pop mood in track 1, the next three combine the academic exquisiteness of chamber music and the special magic of Latin American folklore. Basically, the trio’s main intention here is explore more meticulously into their acoustic sensibility in order to polish their skill and finesse… and the result is unequivocal – they succeeded at that! More of this comes later in ‘Danza del Furor’, an incredibly delicate tour- de-force of cello, guitar and vibes. This somewhat softened attitude is soon abandoned in favor of the elaboration of density, tension and electric fire: ‘Camino’ is a brief ad-lib soundscape of guitar, bass and cymbals that serves as a prelude to the up tempo ambience of ‘Contrastes’, a compromise of hard rock and funky-driven jazz with a slight Crimsonian twist. It’s such a pity that this good piece is so short (it only lasts 2 minutes and a half, actually shorter than the previous number). But that’s not the problem with the following track, the much stronger ‘Recuadros’, which in my opinion stands out as the most brilliant gem in the album: this piece shows how well has the band’s renewed exquisiteness has served in order to allow the band develop their own prog voice regarding their electric facet. The same goes for ‘Estudio’ (again, so good and too short), ‘Justicia’, ‘Grietas’, and the Led Zep-esque concise closure aptly entitled ‘Epílogo’. Overall balance: an excellent prog rock repertoire split between the heat of rock, oiled by the clever dexterity of jazz, and the candid beauty of acoustic sensibility, seasoned by chamber stuff. “Patrimonio” must be enjoyed as what it is, a manifesto of artistic maturity, a maturity soon to be confirmed and enhanced in their following album “Dos Mundos” – but that’s another story…
CESAR INCA
www.progarchives.com
lunes, 18 de agosto de 2008
lunes, 23 de junio de 2008
Ultima semana del mes, y nuestra tardcional Sesion Progresiva.
Este jueves toca el turno a dos grandes genios que aportaron mucho al rock desde cada orilla del continente.
Del nort Frank Zappa, y del sur Charly Garcia y su Maquina de Hacer Pajaros.
Ya saben la mecanica, cada quien lleva su bebida y si quieres llevarte algo de material, bienvenido...
JUEVES 26, 20:00 hrs
MATAMOROS 746, esq con VALLARTA
Este jueves toca el turno a dos grandes genios que aportaron mucho al rock desde cada orilla del continente.
Del nort Frank Zappa, y del sur Charly Garcia y su Maquina de Hacer Pajaros.
Ya saben la mecanica, cada quien lleva su bebida y si quieres llevarte algo de material, bienvenido...
LA MAQUINA DE HACER PAJAROS / LA MAQUINA DE HACER PAJAROS
FRANK ZAPPA / GRAND WAZOO
JUEVES 26, 20:00 hrs
MATAMOROS 746, esq con VALLARTA
miércoles, 28 de mayo de 2008
Sesion Progresiva Mayo'08
Sesion Progresiva
Jueves 29 de mayo, 20:00 hrs
Matamoros 746, esquina con Vallarta
Jueves 29 de mayo, ultimo jueves del mes y la ya acostumbrada sesion progresiva, esta vez con 2 discos recomendados por el buen Fido;
YUGEN Labirinto d’Acqua y KROKODIL An invisible World revealed.
Nos vemos desde las 8pm en MATAMOROS esquina con VALLARTA. Ya saben la mecancia, cada quien lleva su bebida y el material que guste escuchar.
YUGEN Labirinto d’Acqua
This is a brilliant debut album from an Italian band which revolves around guitarist/composer Francesco Zago's and producer Marcello Marinone's singular vision of a fusion of chamber music, symphonic prog and RIO/Avant prog. The name of the band is Japanese; it has no easy translation, but an approximation would be an awareness of the universe that triggers feelings too deep for words (according to the book The Meaning of Tingo). The sleeve contains quotations from Erik Satie (2 of whose compositions are included), Wittgenstein, Umberto Fiori, Liebniz and Jorge Luis Borges, among others. This is a band that is ambitious in scale and scope, and it is to the credit of all concerned that the music more than lives up to the ideals which inform it.
The album starts with a lovely, rippling piano piece by Satie before the first composition proper arrives in the shape of Catacresi. This sets the tone for what is to follow; woodwinds and tuned percussion that recall the austere modernism of Univers Zero and Art Zoyd, washes of keyboards that recall Gentle Giant and Genesis and guitar that touches base with Zappa, Frith and Fripp, the whole sounding totally fresh and contemporary. Rather like some of Univers Zero's recent albums, the 14 musicians involved play in different permutations on different pieces, which makes for a highly varied sonic palette but which also means that it doesn't always feel like the work of a band in the traditional sense of the word. The standard of writing, arranging and playing is astonishingly high throughout, and credit must be given to Udi Koorman for his mixing skills. A particular highlight is Corale Metallurgico, a percussion driven piece featuring Dave Kermann of 5UUs fame, with the manic twists and turns of Zappa's 'serious' music and a truly fabulous percussion arrangement. Later on, Quando La Morte Mi Colse Nel Sonno opens and closes with a synthesiser line that PFM would have been proud to use on one of their early albums, although they would probably not have included the ghostly shakuhachi part which leads into the rather darker middle section of the piece, and the mellotron quartet Skellotron is a wonderful fragment that could be explored further on subsequent recordings.
RIO/Avant prog sometimes distances itself from 70s symphonic prog, although the two genres share some common roots and emerged from the same scene. Yugen draw successfully on both styles in a similar manner to Japanese bands like Koenjihyakkei and Bondage Fruit. This album isn't quite a 5 star masterpiece but it comes close - there will be high expectations for their next recording. Recommended to anybody with a taste for the adventurous, and especially to those who usually find avant prog heavy going. Splendid stuff.
KROKODIL An invisible World revealed
In this intricate album the Swiss of Krokodil present an original blend of massive bluesy folk compositions and weird experimentations. It’s certain that this band has a krautrock sensibility, mainly due to their primitive improvisations, a taste for sound experimentations and freak out instrumentals. The difference with krautrock bands is that their musical influences are not cryptic and keep a feeling for the late 60s pop music. “Lady of attraction” is an emotive psychedelic piece with evident folk arguments thanks to the acoustic guitar and flute sequences. The vocals have something plaintive. The track includes some brilliant spacey rock arrangements thanks to the Mellotron. The bluesy tone is given by the Harmonica parts. “With Little Miss Trimmings” is an accessible folk composition dominated by guitars and simplistic melodies. “Oddissey in Om” is a pure krautrock hymn, a totally stoned composition starting with eastern psych harmonies thanks to percussions and sitar. It carries on a stumbling cosmic krautrock with perpetual jams. “Green Fly” is a nice psychedelic pop composition with a discreet garage rock flavour of the sixties. “Looking At Time” is an other propulsive, dynamic bluesy rock attack with lot of Harmonica. Well thought with lot of fantasies, weird & cool things this album can be an interesting recommendation for those who like the most “indulgent” side of progressive rock.
Jueves 29 de mayo, 20:00 hrs
Matamoros 746, esquina con Vallarta
Jueves 29 de mayo, ultimo jueves del mes y la ya acostumbrada sesion progresiva, esta vez con 2 discos recomendados por el buen Fido;
YUGEN Labirinto d’Acqua y KROKODIL An invisible World revealed.
Nos vemos desde las 8pm en MATAMOROS esquina con VALLARTA. Ya saben la mecancia, cada quien lleva su bebida y el material que guste escuchar.
YUGEN Labirinto d’Acqua
This is a brilliant debut album from an Italian band which revolves around guitarist/composer Francesco Zago's and producer Marcello Marinone's singular vision of a fusion of chamber music, symphonic prog and RIO/Avant prog. The name of the band is Japanese; it has no easy translation, but an approximation would be an awareness of the universe that triggers feelings too deep for words (according to the book The Meaning of Tingo). The sleeve contains quotations from Erik Satie (2 of whose compositions are included), Wittgenstein, Umberto Fiori, Liebniz and Jorge Luis Borges, among others. This is a band that is ambitious in scale and scope, and it is to the credit of all concerned that the music more than lives up to the ideals which inform it.
The album starts with a lovely, rippling piano piece by Satie before the first composition proper arrives in the shape of Catacresi. This sets the tone for what is to follow; woodwinds and tuned percussion that recall the austere modernism of Univers Zero and Art Zoyd, washes of keyboards that recall Gentle Giant and Genesis and guitar that touches base with Zappa, Frith and Fripp, the whole sounding totally fresh and contemporary. Rather like some of Univers Zero's recent albums, the 14 musicians involved play in different permutations on different pieces, which makes for a highly varied sonic palette but which also means that it doesn't always feel like the work of a band in the traditional sense of the word. The standard of writing, arranging and playing is astonishingly high throughout, and credit must be given to Udi Koorman for his mixing skills. A particular highlight is Corale Metallurgico, a percussion driven piece featuring Dave Kermann of 5UUs fame, with the manic twists and turns of Zappa's 'serious' music and a truly fabulous percussion arrangement. Later on, Quando La Morte Mi Colse Nel Sonno opens and closes with a synthesiser line that PFM would have been proud to use on one of their early albums, although they would probably not have included the ghostly shakuhachi part which leads into the rather darker middle section of the piece, and the mellotron quartet Skellotron is a wonderful fragment that could be explored further on subsequent recordings.
RIO/Avant prog sometimes distances itself from 70s symphonic prog, although the two genres share some common roots and emerged from the same scene. Yugen draw successfully on both styles in a similar manner to Japanese bands like Koenjihyakkei and Bondage Fruit. This album isn't quite a 5 star masterpiece but it comes close - there will be high expectations for their next recording. Recommended to anybody with a taste for the adventurous, and especially to those who usually find avant prog heavy going. Splendid stuff.
KROKODIL An invisible World revealed
In this intricate album the Swiss of Krokodil present an original blend of massive bluesy folk compositions and weird experimentations. It’s certain that this band has a krautrock sensibility, mainly due to their primitive improvisations, a taste for sound experimentations and freak out instrumentals. The difference with krautrock bands is that their musical influences are not cryptic and keep a feeling for the late 60s pop music. “Lady of attraction” is an emotive psychedelic piece with evident folk arguments thanks to the acoustic guitar and flute sequences. The vocals have something plaintive. The track includes some brilliant spacey rock arrangements thanks to the Mellotron. The bluesy tone is given by the Harmonica parts. “With Little Miss Trimmings” is an accessible folk composition dominated by guitars and simplistic melodies. “Oddissey in Om” is a pure krautrock hymn, a totally stoned composition starting with eastern psych harmonies thanks to percussions and sitar. It carries on a stumbling cosmic krautrock with perpetual jams. “Green Fly” is a nice psychedelic pop composition with a discreet garage rock flavour of the sixties. “Looking At Time” is an other propulsive, dynamic bluesy rock attack with lot of Harmonica. Well thought with lot of fantasies, weird & cool things this album can be an interesting recommendation for those who like the most “indulgent” side of progressive rock.
martes, 22 de abril de 2008
Queensryche.- Operation Mindcrime
OPERATION MINDCRIME.- The album begins with the protagonist, Nicky, lying in a hospital bed. He lies in a nearly catatonic state, unable to remember anything but snippets from his past. Suddenly, Nicky has a violent flashback in which his memories come flooding back in a torrent ("I Remember Now", "Anarchy-X"). He remembers how, as a heroin addict and would-be political radical frustrated with contemporary society, he was manipulated into joining a supposed secret organization dedicated to revolution ("Revolution Calling"). At the head of this organization is a political and religious demagogue known only as Dr. X, who, manipulating Nicky through a combination of his heroin addiction and brainwashing techniques (à la The Manchurian Candidate), uses Nicky as an assassin. Whenever Dr. X uses the word "mindcrime" Nicky becomes his docile puppet, a state which Dr. X uses to command Nicky to undertake any murder that the Doctor wishes ("Operation: Mindcrime", "Speak"). Through one of Dr. X's probable associates, a corrupt priest named Father William, Nicky is offered the services of a prostitute-turned-nun named Sister Mary. Details are vague whether these services are sexual or simply emotional ("Spreading the Disease"), though the lyrics for "Suite Sister Mary" seem to indicate that is the first time they engage in sex ("Your precious cross is gone. It made me wait so long for what you gave to everyone"). However, through his friendship and growing affection toward Sister Mary, Nicky begins to question the nature of what he is doing ("The Mission"). Dr. X notices this and, seeing a potential threat in Mary, orders Nicky to kill both her and the priest. Nicky goes to Mary's church and kills the priest, but after confronting Mary fails to comply with the command to murder her ("Suite Sister Mary"). He and Mary decided to leave the organization together, and Nicky goes to Dr. X to tell him that they are out. Dr. X, however, reminds Nicky that he is an addict, and that he is the only one who can provide his daily fix ("The Needle Lies"). Nicky leaves conflicted and returns to Mary, only to find her dead ("Electric Requiem"). He cannot cope with the loss, as well as the possibility that he himself may have killed her and not known it, and begins to succumb to insanity ("Breaking the Silence", "I Don't Believe in Love"). The police, arriving on the scene, arrest him for Mary's murder and the murders he committed for Dr. X ("Waiting for 22"). Because he is in a near-catatonic state, he is put into a hospital, where he starts to remember… ("My Empty Room", "Eyes of a Stranger").
OPERATION MINDCRIME II.- The story picks up 18 years after the events of Operation: Mindcrime, on the day that Nicky is released from prison. During his incarceration, Nicky has been unable to let go of his hatred for Dr. X; who has since become rich and powerful, and is preoccupied with thoughts of revenge. He still harbors resentment against what he views as a totally corrupt government. The training (or brainwashing) he received from Dr. X still has a strong hold over Nicky, but he is still conflicted. While he still feels the need to carry out his revolutionary mission, his thoughts drift to Mary.
Nicky wastes no time in landing in trouble with the law once again, and at his trial his pleas for mercy and leniency are lost on a judge and jury still remembering his past crimes. This only deepens his disdain for the government, the legal system and Dr. X, whom he blames for all of his problems. After Nicky escapes and finds himself yet again on the run from the law, his own need for revenge coupled by a vision of the ghost of Mary turns his thoughts toward killing Dr. X.
As the final confrontation with Dr. X gets closer, Nicky starts to have doubts. He questions himself and wonders if it isn't really his own fault that his life is as bad as it is. Nicky does finally track down Dr. X, crashing his motorcycle into X's limo and dragging a disoriented Dr. X to the church where Mary died, where Nicky finally shoots and kills him. (This section in particular is vague on the album, as it is suggested, but not explicitly stated in the lyrics or played out in the songs that Nicky kills Dr. X. The live performance of Operation: Mindcrime II; however, removes any ambiguity over what happened between them). He gets no satisfaction from killing Dr. X, but rather feels just as empty as ever. The ghost of Mary appears, and appears to take pity on Nicky over the fact that revenge has not brought him any peace.
The ghost of Mary appears again and angrily exhorts Nicky to kill himself. It is unclear, however, if it is actually her or just Nicky imagining her. He starts to think that he is insane and contemplates suicide. Rustling through his belongings, he first picks up a gun, then a noose before finding the very thing that drove him to Dr. X in the first place: heroin. Nicky prepares and injects a lethal dose and dies. As the album ends, Nicky's spirit is reunited with Mary's, and together they reflect that the only times they were happy was in the moments that they were together.
(Note: The story of Operation: Mindcrime II is expanded on with video and actors during Queensrÿche's live performance of the album, which helps to clarify some sections of the plot).
OPERATION MINDCRIME II.- The story picks up 18 years after the events of Operation: Mindcrime, on the day that Nicky is released from prison. During his incarceration, Nicky has been unable to let go of his hatred for Dr. X; who has since become rich and powerful, and is preoccupied with thoughts of revenge. He still harbors resentment against what he views as a totally corrupt government. The training (or brainwashing) he received from Dr. X still has a strong hold over Nicky, but he is still conflicted. While he still feels the need to carry out his revolutionary mission, his thoughts drift to Mary.
Nicky wastes no time in landing in trouble with the law once again, and at his trial his pleas for mercy and leniency are lost on a judge and jury still remembering his past crimes. This only deepens his disdain for the government, the legal system and Dr. X, whom he blames for all of his problems. After Nicky escapes and finds himself yet again on the run from the law, his own need for revenge coupled by a vision of the ghost of Mary turns his thoughts toward killing Dr. X.
As the final confrontation with Dr. X gets closer, Nicky starts to have doubts. He questions himself and wonders if it isn't really his own fault that his life is as bad as it is. Nicky does finally track down Dr. X, crashing his motorcycle into X's limo and dragging a disoriented Dr. X to the church where Mary died, where Nicky finally shoots and kills him. (This section in particular is vague on the album, as it is suggested, but not explicitly stated in the lyrics or played out in the songs that Nicky kills Dr. X. The live performance of Operation: Mindcrime II; however, removes any ambiguity over what happened between them). He gets no satisfaction from killing Dr. X, but rather feels just as empty as ever. The ghost of Mary appears, and appears to take pity on Nicky over the fact that revenge has not brought him any peace.
The ghost of Mary appears again and angrily exhorts Nicky to kill himself. It is unclear, however, if it is actually her or just Nicky imagining her. He starts to think that he is insane and contemplates suicide. Rustling through his belongings, he first picks up a gun, then a noose before finding the very thing that drove him to Dr. X in the first place: heroin. Nicky prepares and injects a lethal dose and dies. As the album ends, Nicky's spirit is reunited with Mary's, and together they reflect that the only times they were happy was in the moments that they were together.
(Note: The story of Operation: Mindcrime II is expanded on with video and actors during Queensrÿche's live performance of the album, which helps to clarify some sections of the plot).
fuente: www.wikipedia.org
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