Lasse Dale Screaming for Silence
by Derric Miller
Staff Writer
It’s not often that you find a new guitar hero release a debut album that is as focused on the songwriting, the vocals, and the lyrics as he is on amazing listeners with his frenetic riffing, blazing tapping or intricate solos. Lasse Dale somehow reigns himself in—somewhat—on his debut Screaming for Silence, and offers up a thought provoking release in Screaming for Silence that is more about the sum of its parts than just his guitar prowess, which is immense.
One of the reasons for this oddity may be the fact that one of the best voices in all of Rock and Metal, Tony Mills, was brought on board to sing Dale’s compositions. Knowing you have such a flexible vocalist who can sing anything you write, well, wouldn’t you want to stretch those boundaries as much as your own guitar playing? Dale certainly did; Mills hits notes you’ve probably never heard him nail before, and as usual, he astounds.
Screaming for Silence’s first track, “A Conflict of Interest,” will remind you of the pageantry of Yngwie Malmsteen. With Classic keys (played by Karl Birkely) opening the song, it turns into a near Neo-Classical guitar riff that Malmsteen certainly influenced. The fact is, though, that Dale rarely gets consumed with bottlenecking the song around his guitar, as Malmsteen is historically (and accurately) accused of. At times, “A Conflict of Interest” weaves between Power and Progressive Metal, more so the latter because of the intricate manner the song is conveyed. Mills vocals soar, especially on the end where he wails, “To the end of extinction!” Wicked way to begin the album.
“Psychosynchronicity,” while perhaps a bit pompous on the title, is one of the better tracks here. The odd time signatures, chaotic keys and utter darkness from Mills vocals make this one you’ll keep going back to. Mills will remind you of Geoff Tate, probably around 1986, as he goes from talking to nearly screaming his vocal lines. The only time the song stops its pummeling rhythm is during the chorus, where it smoothes out before going bombastic into the next verse. While Dale’s talent is palpable, it is drummer Kristoffer Øyen’s overwhelming power and precision that stands out here. Once Dale tears into his solo, you’ll completely understand why so many consider him an underground Guitar Hero.
While the heavier songs draw you in, Dale’s ability to wield an acoustic guitar with the same dexterity on “The Silent Guns of Love” will probably remind you of Malmsteen again. Mills can croon with the best of them, one of the rare singers who sounds as strong singing Heavy Metal anthems as he does ballads, proven by what you’ll hear here. The harmonies are off the charts, as Mills vocals are layered as he accompanies himself. Haunting, and beautiful, “The Silent Guns of Love” is another highlight.
The album gets political on “Macheaveillian Perspective.” The newscaster’s voice talks about America, and Russia, and the creation of the Palestine state. “Stalin was sure that a Jewish state would be socialist,” says the narrator, before launching into the song. This may be one of the reasons why Dale will be labeled Progressive Metal; he’s not singing about swords or unicorns or hammers or knights. This is too heady for Power Metal. Although you have to pay attention to get the full story, musically, it’s still an excellent composition.
It all closes with “The End of All Days,” a gloomy, somewhat foreboding track, with guitars that sound like a buzz saw at the onset. While the keys are sometimes in the background, here they stand out front, adding a more musical vibe to the sometimes droning song. “Theatrical” is a good way to describe Mills’ vocals, maybe along the lines of Tate on Operation: Mindcrime again. This is also one of the songs where Mills is using the full extent of his range, something it seems he isn’t allowed to do in TNT, wherever that unit may be now. Regardless, “The End of Days” is a strong ending to a CD that is a brave debut.
Lasse Dale did it right. Instead of trying to “wow” you with his ability to solo, he has written a complete album with songs that make sense, are interesting to digest, and he never pulls the compulsory masturbatory guitar solo. It all makes sense in the narrative of the song, which for a newcomer, had to be one of the most difficult things to accomplish. Screaming for Silence certainly has its blemishes, but with Mills delivering another masterful vocal project and Dale seeming mature behind his years, this should go far in pushing Dale’s name out into the mainstream … wherever that is.
Label: Wintersongs Records
Track listing:
1. A Conflict of Interest
2. The Judgment
3. Psychosynchronicity
4. My Horizon
5. The Silent Guns of Love
6. A Shadow of Doubt
7. 1968 Disease
8. Macheaveillian Perspective
9. Faith on Fire
10. The End of All Days
HRH Rating: 7.8/10