Early this past April, independent guitarist Shred Rogers released his debut album, The Circle through Heavy Armor Records. The largely instrumental record is without question the single most intriguing record to be released so far this year. That is because while being a metal album, it has been marketed as a record for audiences of all ages. True, there is nothing that parents would find offensive about the album at all, though there is also no denying that children likely will have a hard time finding appeal in a black metal rendition of ‘Baa Baa Black Sheep.’ Yes, you read right, a black metal take on ‘Baa Baa Black Sheep.’ This will be discussed a little later. On the more positive side, the album will appeal to a wide range of older metal fans with the likes of ‘Good Morning,’ the albums second track but first full track. It will be discussed shortly. And then there is another truly bizarre entry, ‘An Ode To Cats’ (yes, you read right) that can only be fully comprehended (if at all) by being heard firsthand. It will also be addressed later. All three of these tracks are unique in their own right, to be certain. When they are considered alongside the metal take of the timeless Brahms Lullaby, his take on the equally comedic cover of ‘I’m a Nut’ and the rest of the album’s entries, the whole therein makes the album quite a headscratcher that is unlike anything else out there in the metal and family music scenes today.
The Circle, the debut album from Rogers (a.k.a. Christopher Matthew Jones), is a unique offering from the guitarist. That goes without saying. The record is being marketed as metal for the whole family, but there is no doubt the album is being aimed more at older metal fans who are children at heart than children themselves. That is because it is very unlikely any young children will actually find themselves appreciating the metal mass that is this record. It unquestionably leaves one wondering if this record is meant to be a spoof record of sorts or if Jones is taking himself seriously. At first, it seems he is taking himself serious, as is evidenced through the record’s second song and first full length composition, ‘Good Morning.’ ‘Good Morning’ is a simple song that finds Jones singing simply, “Good Morning” against an intense Devin Townsend-esque arrangement that is so lush in its orchestration. The way in which it builds gradually over the course of its nearly three-minute run time, its keyboard line and snare at its base lend themselves to comparison to the way ‘Genesis’ (from Townsend’s latest album, Empath) builds. The two songs are unique in themselves, but stylistically, the comparison is inescapable. Even with that in mind, it proves to be a powerful, almost ethereal song that audiences of all ages may in fact enjoy.
On the exact opposite end of that spectrum however, are not one but two classic children’s songs put to metal that detract quite notably from this record. They are metal takes of ‘Baa Baa Black Sheep’ and ‘Wheels on the Bus.’ The former is a full on black metal take of the song which in its original form is anything but black metal. Odds are children are not going to find themselves listening to this nor will most parents play it around their children even though there are no bad words or any other negative content. It is just too intense for any child. To that end, one cannot help but wonder how seriously Jones took himself with this cover.
Much the same can be said of his metal take of ‘Wheels on the Bus.’ The song, which comes complete with a brief cover of Metallica’s ‘Master of Puppets,’ has its own brief black metal take on this song alongside a more power metal approach that takes up the remainder of the song. It is definitely a head scratcher and leaves one wondering again just how seriously Jones took himself even in the case of this composition. Again, odds are most children will not take in this song nor will any parent have their children exposed to the song even despite being perfectly fine for all ages. Once again, it leaves one to wonder if Jones’ intent overall with this album was to aim it more at children at heart than children even considering how it has been marketed.
As if those two songs are not odd enough, Jone has also crafted a whole song that…well…pays tribute to cats. Yes, again you read right, cats. It is called ‘An Ode To Cats.’ It opens with cats meowing against a decidedly metalcore and black metal guitar work and drumming. That presentation eventually gives way to something far more bizarre – the cats actually meowing the song’s melody in a more ballad style work. It goes without saying here too, that there is nothing else like it out there. Yes, that even includes those cat-centric songs that have cats “singing.” There is no way that song can be taken seriously, nor can Jones. To that end, when one takes into consideration that song, the others addressed here and the rest of the album’s entries, the whole becomes a record on which Jones was simply having fun. There is no way he was trying to be serious in anything he did. As long as audiences go into the album with that understanding they will find themselves enjoying this unique independent metal offering.
Shred Rogers’ debut album, The Circle, is the single most unique metal album to be released so far this year. Released this past April through Heavy Armor Records, the album is a heavy metal feast for the ears that will appeal to adults and children at heart, but less to children. This is despite having plenty of lyrical content aimed at children. From progressive metal to black metal to metalcore and even some power metal, Rogers offers metal fans a little bit of so many metal subgenres throughout his new record. Keeping that in mind, the album proves itself worth hearing at least once. That is because the only way in which audiences can truly appreciate this record is to hear it for themselves.
The Circle is available now. More information on the album is available along with all of Shred Rogers’ latest news at:
Website: https://shredrogers.com
