Showing posts with label 2004. Show all posts
Showing posts with label 2004. Show all posts

Wednesday 24 January 2024

Mnemic "The Audio Injected Soul" (2004)

 
Here lies an ecstatic throw back to the days of youth. Discovered through Nuclear Blast Records magazine, this Danish outfit captivated our attentions with rhythmic grooves adjacent to Meshuggah's records of the time. Residing in the infancy before Djent took on its current sanitized form, Menmic's gritty Industrial polish and flashes of electronic textures morphed them into a memorable metallic beast.

Born in the hangover of Groove and Nu Metal, roaring shunted riffs collide against subtly dystopian melodic leads in search of new ground. I recall this particular scene once being referred to as "Future Fusion Metal" but despite the endless iterations of sub-genre, this name never took hold. One can hear echos of Melodic Death Metal and Industrial Metal but its most notable distinction are the elasticated "poly-rhythmic" guitar arrangements that make for frequent headbangers break outs. Chunky assaults on the fretboard that frequently flirt with a choppy, charactered ferocity.

The band don't overstate any component but weave together its most aggressive assignments and tuneful tangents. These arrangements emerge chopped and changed, not through complexity but variety. The pace at which an average track cycles through its sections is refreshing. It gives them character, as its swings and sways feel unpredictable, even after the album has been etched into ones memory.

Its offering can't be overstated, a fantastic range of soaring melodies to rhythmic slabs of low end force, melding through a creativity that never felt forced or intentional. The bellowing roars of front man Bøgballe often illuminates the energetic trajectory the instrumentals traverse. It could be passion of youth but I think this record is a lost gem, a cracking collection of momentous songs that any fan of Metal could find a favorite among its ten lean cuts. Still a favorite after all these years...

Rating: 9/10

Saturday 13 May 2023

Frank Klepacki "Rocktronic" (2004)

 

Following on from Morphscape, It seems Frank was left in the lurch, a period of sweet stagnation for this fan. With C&C Generals, the shift to 3D left me behind, as did Frank's involvement in the games music. Released two years on, Ive found this dusty Rocktronic album firmly resting on the Red Alert 2 mindset. Its production a shade more robust, the janky assembly of Electronic-Industrial and Metal guitars comes mostly consistent with punchy, unabashed charges of gittery melodies and snappy grooves. These songs play with restless energy as its instruments know no subtlety.

Two tracks, Take Me and Bring The Fight, take a distinct turn, ditching the drum machines and electronics, they take on a rock band aesthetic clearly reveling in Rage Against The Machine inspiration with Tom Morello guitar riffs front to back. The change in tonality is jarring, the lack of originality leaves it a stale footnote among an otherwise decent collection of C&C style hits. In The Tunnel resurrects soft atmospheric touches reminiscent of the first Red Alert, yet forces in some clashing obnoxious elements too. Rocktronic is a fair listen, unsurprising but fun for this fan.

Rating: 5/10

Saturday 20 August 2022

Damageplan "New Found Power" (2004)

 

"We are Damageplan and we have a plan for damage". A cheesy pun and awful introduction to this wrangle of young Metalheads who imidiatly turned up the nose. That's all I remember of my friendship groups stance on the Paul brother's then latest band. With the recent enjoyment of Reinventing The Steel, it occurred to me, the late, great Dimebag had more in the arsenal that I was yet to experience.

Uniting with vocalist Patrick Lachman and bassist Bob Zilla, the Paul brothers embraced a then rapidly fading Nu Metal approach to Metal. Although received to lukewarm receptions at the time, age has served it well. New Found Power embraces the cultural accent fondly and injects a smoky southern flair. Vinnie eases off the gas with percussive might focusing on syncopation with his brothers power chord grooves.

As repeated spins made their craft known, it became clear that much of the Pantera persona remains with Dimebag. However, he aptly slows his playing, a shift in tone and easing of pace re-texturing his style, a subtle disguise but the southern steel is still their. His shrill squeals, bouncy bends and slick slides are all among the architecture. Dynamically, he flexes between simplistic Nu Metal alike grooves and lunges of guitar manipulation, fleshing out a soft aesthetic madness to indulge with.

Patrick Lachman does a fine job upfront, a powerful voice, one perhaps singing from the shadows. The likes of Layne Staley, Jason Popson, even Anselmo on occasion and Corey Taylor who features on a track too. Essentially, he brings a fine sound for the times but lacks his own identity. Because of this, much of the record fits the mold without breaking form as its character nails the downtrodden tone of the time.

Damageplan play the sound well but on occasion they drift into another lane. Blink Of An Eye has an unmistakably Korn distinction to its mimsy lead guitar melody. Even though New Found Power lacks a strong distinction, its execution is excellent. Very interesting to hear Dimebag nail another scenes guitar sound so well. There are even dense moments that felt as if a DJ's adding a layer of noise to the mix. Its actually Dimebag wailing on his strings. Glad I checked it out, a fun record for rocking out!

Rating: 7/10

Tuesday 7 June 2022

Sum 41 "Chuck" (2004)

 

Initially, the Canadian Pop Punk outfit Sum 41's fourth outing was supposed to be the most exciting! Hailed as their most metallic release, I was keen on seeing how their Pain For Pleasure and Reign In Pain tributes to classic Metal would manifest with a prominent roll. With their warm, poppy personalities stripped out, replaced by a glum tone looming over the record, the music isn't as appealing without that bright, upbeat streak of Skate Punk. Softly depressive, gently downtrodden and moody, the metallic pursuit leads the music to an angsty self-defeatist tone I failed to vibe with.

Given previous manifestations in the spirit of Judas Priest, Iron Maiden and Metallica, I was expecting more of that! The latter of which you do hear on occasion. Oddly, its the then dead Nu Metal genre that has its influences. The catchy lyrical cadences of Chester Bennington is obvious at times. More so Papa Roach of all bands. Many distinctive arrangements from Infest, both vocal and guitar driven, make themselves known, as well as a riff from System Of A Down. When turning to Metal, originality clearly is lacking and the chopping between contrasting styles is far from fluid.

Disappointed by the glum tone of Nu Metal influences, the Punk leanings get dragged along in that dreary spirit. The riffs are not as bright and chirpy, lyrics lack an emotional resolve once heard before and ultimately its mood is a drag. Of course it has its merits, catchy choruses and the occasional riff but I found myself pulled into those hopeless teenage moods id rather forget. You could say its personal bias however I'd defend how naked some of their musical compositions are in the shadows of others. It drowned out originality and left a sense of disappointment with me.

Rating: 5/10

Thursday 15 July 2021

Jay-Z & Linkin Park "Collision Course" (2004)

 

Delighted by the recent Rap Metal adjacent works of Hackivist, I found myself thinking back to this record, which I had barely paid attention too upon its release. Back then I probably had my mind deep in the world of Extreme Metal and nose turned up... But with age, a renewed fondness for the music of my teens now has me wide eyed getting into this collaboration by two of the industries biggest names of the era.

Born of MTV's Mash Ups show and masterminded by Mike Shinoda, the brief six track Collision Course sounds born of that spirit, the interchanging of instrumentals and accappelas between opposing musicians. As a collaboration its sounds just like that, however the enthusiasm shared between the two camps had Linkin Park and Jaz-Z meeting in the studio to re-record parts of Shinoda's arrangements to ensure quality.

It speaks volumes to the seamless nature, everything aligns sweetly. Crunky percussive kicks and snappy snares give the metallic aggression of the guitars a ground to the Hip Hop persona. Both Chester's moving cleans and raw screams match the Rap instrumentals, Mike's roll as a rapper obviously fits but its mostly Linkin Park who dominate the vibes with their songs taking up most the runtime.

Big Pimping and Izzo stand out as the cuts which hold onto their original beats but the other songs get overridden by the metallic energy when the guitars arrive. Its all fantastic but perhaps my emotional attachments have me reveling in nostalgia from these re-worked bangers. Points Of Authority and One Step Close overload 99 Problems for goosebumps inducing mania as Jay-Z drives the crossover with his raps.

I am ultimately left fascinated by this EP, a commercial peak at the end of an era when my two favorite genres rubbed shoulders. For all the Rap Metal I've adored, missing out on this was a major fumble. I can't get past how wonderful the chemistry is. It feels like an obvious mash up yet that doesn't hold it back where you might expect. Its like bottled lightning, perhaps amplified by my own personal excitement. Given the two toured this together, the accompanying DVD is now mandatory viewing for me.

Rating: 7/10

Wednesday 9 June 2021

Foreign Objects "Universal Culture Shock" (2004)

 

A current record on rotation has been giving me some serious CKY vibes. More so two thirds of the line-up, Jess Margera and Deron Miller, on this adjacent project Foreign Objects! Its a gem of a record, taking that unique and dynamic sound of Camp Kill Yourself into a Extreme Metal direction with guttural vocals and an aptitude towards the more progressive and technical aspects of instrumentation. Don't be fooled, for all its flash the foundations are built with fantastic song writing and a flair for melody that has its crunchiest of riffs flowing with colors. Its parallel to a handful of metallic genres yet stands triumphantly apart with its warm embrace.

Foreign Objects was actually formed before CKY and with the viral success of the VHS videos and Jackass, it seems the pair decided to revive their ambitions with this sophomore album after Infiltrate Destroy Rebuild. That sound is apparent throughout but more so in its earlier songs. As the album progresses, more Death Metal influences to the likes of Cynic and Atheist end up showing themselves a touch nakedly with sections that lean on some of the tropes like dis-harmonized melodies and meatier guitar riffs. Its all fantastic but the album does start like a rocket.

 The self titled track and Genesis 12A leap from the speakers, the music more colorful, interwoven and going on a fantastic journey of colorful aggression melding its tuneful nature between groove and gusto with Jess wilding out on his drums with an animated performance set to strike all cymbals and toms frequently between the foundations of his patterns. Its wonderfully engaging and Deron's harsh throaty growl shouts have charm but less in the aesthetic and more so the timing and delivery. He sounds impassioned and it makes the songs come to life with his better lines.

I could heap on the praise but not everything is perfect. The albums production is a touch harsh and lacking budget but the music attitude fortunately punches right through its rough edges. As mentioned the album tends to drift to its less creative songs, passing an amazing Disengage The Simulator cover on the way out which fizzles out with the toned down Victory Over Neptune transitioning into a sombre acoustic but underwhelming ending. Then lastly there is Big Boy, its tone and temperament doesn't really fit the bill or carry the same energy as anything before.

At its peak, this albums songs are of a dazzling craft but its a flawed treasure for sure with the front loading. Looking up some details on its release Ive learned it was packaged with a five track demo from 1995. That is making its way to playlist immediately! I'm glad I got around to writing about this one, for any CKY fans reading, you need to hear this! Especially if your fond of more abrasive music.

Rating: 8/10

Friday 16 April 2021

Bring Me The Horizon "This Is What The Edge Of Your Seat Was Made For" (2004)

The rattling rustle of loose snare rolls, discordant guitars screeching, a brooding power chord rising and then an eruption of sloppy chugging riffs. It sends this classic record straight into uncomfortable territory as moments later the grip loosens with the hit-hat wafting over the silence between meaty slabs of chunky guitar funk. Enter the raspy scowl of Oli Sykes's divisive and ugly screams and you have the perfect recipe for music to split a crowd, in the context of both mosh pits and musical snobbery. Fortunately I landed on the side able to enjoy this controversial bands gritty sound.

It was at my first Download Festival in 06 that I mistook them for another act on the bill. I was blown away by the novelty of these black emo mop hair cut kids playing the "uber brootal" music. It was also my introduction to hardcore dancing where I quickly learned regular moshing would land you a punch to the face. From then I was hooked and till this day I never felt like anything else Bring Me The Horizon would do matched the unique charm this four track record caries. Its one of those bits of music you get right into every now and then and this latest binge leads me to write!

This Is What The Edge Of Your Seat Was Made For is a youthful riot of angsty rebellion and aimless attitude fit to cut a divide in the Metal scene. Some parts Metalcore, seeking the brutality of Death Metal, this bedroom band puts together a riff montage exploring their own ideas of heavy, hooked on the ugly, odd and obnoxious that you just can't replicate. Its a mindset, a moment in time manifesting into a bizarre riff fest of awkward guitar noise and breakdowns that I simply adore for all its flaws.

Its grey, scrappy aesthetic and trying performance may be sloppy and loose but just hangs in enough to land its ideas and rhythms right on the nose. The grooves land between the barrages of angular guitar noise and Oli's snarling throaty screams sound almost painful at times. It ends up like a charm all too akin to Metal yet constructed from a different ideology. The songwriting however is keenly convenient in this aesthetic as its progressive rollout of guitar riffs, with little repetition, keeps an interesting flow of rough around the edges ideas, landing with enthralling energy.

The last of its four songs ends up on a melodic tangent that derails somewhat from the core concept but within its first three strikes the breakdowns and "brutality" is so much fun. Each song gets its big moment for the crowd to split and go ham. Each song also finds catchy ear-worms to drive home with big shouts around its big breaks. "Nail The Casket One More Time", "I Hate All My Friends", "If You Think You've Alive, Your Better Of Dead". I've never looked deep into these angsty lyrics, written by then teenagers. They do however get riled up with the music in there spite ridden delivery.

Edge Of Your Seat not a record Id be keen to recommend but discovering at such an interesting time, right at the birth of Deathcore's bloom, gave it a personal nostalgic magic I've never been able to shake. It was fun and outrageous then and sixteen years later still has a punch that rarely fails to rustle. Such a peculiar record. No other band I'm aware of, or even BMTH themselves on their debut album managed to capture the spirit to be heard hear. Its an oddity but I absolutely love it!

Rating: 8/10

Sunday 21 February 2021

Shade Empire "Sinthetic" (2004)

 

Having recently recorded my blog post on Arcane Omega for my music channel, I was prompted to explore the Finnish bands back catalog and thus landed here at their debut. Initially I writ it off as being a run of the mill record, however with each spin the melodies and symphonic themes rooted themselves, revealing a slice of fantastic songwriting here at the origin of their adventures. Sinthetic is not without flaws but certainly a stronger set of songs that you would initially suspect in their infancy.

As a Symphonic Extreme Metal album, its texture, tone and temperament exudes much of what Dimmu Borgir unleashed with Puritanical Euphoric Misanthropia a couple years beforehand. What Shade Empire bring to the table is an Electronic element tangled between its harsh metallic drive and swoons of symphonic might. The best of the record comes from the gleams of melody its orchestral tones usher in over the industrious workings of synth LFO's bustling away around its metallic template. Its design very much of the electronic scene, working its way in with an Industrial vibe.

Its quite the stark construct, the guitars feel distance with a narrow scratchy, plastic tone. The rapid drums rattle their way around with a lot of intensity. The bass guitar and low end is thinned out, the electronic osculations fire off with distance too. Harju's harsh, flat screams are too without depth, adding to this brittle production style. Its the symphonic keys, choral vocals and pianos that swarm the music with a warmness. Dense in tone and presence, they dominate the music on arrival.

These elements essentially carry the record which unfortunately pivots quite often to the drive of Metal techniques and arrangements that tend to have little dazzle. Its at its best when the keys take over, delivering theme, melody and might that swoons and takes off like a rocket. Its a mix of contrasts that works when smothered with synth and in doing so gives it an edge over what you might expect from this musical niche.

That echo's my opening statement, initially I thought it to be a typical record but in hearing the persuasion of Savolainen's arrangements blossom, it reveals a fractional magic. The reality is whenever the music hinges on its metallic footing its a rather dull affair. Its eight songs have their moments and when they do, its always the swirls of electronic synthesizer or orchestral gleam that births its magic. A peculiar record, one that indicates their symphonic genius was there from day one.

Rating: 6/10

Tuesday 19 January 2021

Dysmorphik "...And To The Republic" (2004)

 

 Following up on yesterdays post about Tick, Burn, Screech & Halt we have the second installment by this wonderfully peculiar musician of personal interest to me. Released five years later, ...And To The Republic is a force of musical maturity. The bizarre machination of Industrial noise harps on with refined execution. Along with a developed approach to songwriting and structure, these inspirations have evolved with passion, vision and agility. Its often through the lens of Dance and Electronic Body Music, along with a better mastery of composition and sound design.

Where his previous songs where disjointed, awkward and unusual, Dysmorphik channels the wall of noises with a newly found cohesion that is dense and engulfing. Between slabs of synth and protruding electronic melodies, distortions, zaps, whirls, fuzzes and clicks rattle around in a persuasive madness. Everything hits harder. The percussion slams with drive and groove, hitting these dance floor strides of pace fit for a Cyber Goth club. The key melodies, emerging from alien saw waves and trance-like synths, are catchy and grooving. Even the vocals have "leved up". Still leaning on the whispering edge of softly aggression, a use of subtle distortion and plugin effects deliver a far better front, now powerful and melded to the mix like another instrument.

The sound design is fantastic! Giving the density your attention, its details offer up so much more to these massive songs. Its less obvious as to what is going on, as if hours of experimental sound manipulation has its its best recorded moments plucked out and injected into the music like a Bomb Squad production. This lends the song structures to more break away moments, much like the sudden shift of break-beats, the music derails on brief tangents of magical noise madness, often driven by slamming percussion that thuds and crunches hard. Its a dystopian pleasure!

It would be so hard to pluck a favorite from all these numbers but Idle Dereliction has this wonderful progression as a song. Starting off with a dense pummeling of Industrial groove from its drum patterns, the flexing baseline hooks one in as the tapestry of noises grows. Hard hitting synths force the issue and before long the dense arrangements shift towards an emotional axis. It wrestles back and forth with these fantastically performed lyrics pushing of from the "make love like suicide" line. The wall of sound is utterly engrossing, beautifully alien and its steady deconstruction reveals this underpinning of choral voices... its so dark and wonderful.

There are more songs in the arsenal beyond this release. A couple of experiments in pure Noise and Gabber style electronic music seemed like a fascinating evolution, a sort of boiled down experiment, the tapestry of gritty noise without the songs worked around them. Whatever the reason this musician had to end it all here around in the mid naughties is a mystery. It sounded like they were on the cusp of another evolution yet what they have left behind has memorized me to this day. Dysmorphik holds a special place in my heart. It is not with every song they strike gold but when it works its unlike anything else out there. Truly a forgotten treasure.

Rating: 8/10

Wednesday 19 August 2020

Fellsilent "Fell Silent" (2004)

 
  To round out the nostalgic dive into a legendary local scene band, I managed to scrape together two of the three songs that made up their first demo! I'd never heard this these songs before and initially they sounded stylistically different from the Djent beast they would become. The tone of Metal at play was surprisingly really fitting of the local scenes of the time, getting away from the shadow Nu Metal and reinventing the wheel with a strong Metalcore influence. I even have some CD-R demos that sound not far from whats at play here.

Yet to master the Djent tone, the group have a shorter measure of polyrhythms in the guitar riffing, playing out stomping grooves with tightly picked riffs often dizzying around single notes and bends. After an analytical listen one can see the path they took. At this stage their songs are strong, decent but yet to be exceptional. The Meshuggah influence not so obvious. They do however have the songwriting to lead their collection of choppy riffs to climaxes as both the songs led to a satisfying conclusion.

Singer Neema Askari has yet to knuckle down that bleak forceful tone in his screaming and so sounds rather amateurish in that typical feel of local bands. His cleans however are far more emotive and expose a chemistry that prevails to their later work. Both the songs I heard are fantastic and grow fondly with many repetitions. It may not have been obvious at the time the potential this group of young lads had but all the pieces are there in one form or another.

 Its really uncanny just how much it all reminds me the other bands in the scene of this era but perhaps not so given how in the early naughties we were still mostly geographically defined, even though the internet culture was starting to blossom. Such a treat to enjoy but more so for personal reasons. This demo is a fine starting point for the band and on a final note, very well produced for a scene demo! Its a great listen, wish I could just find that third track!

Rating: 4/10

Saturday 4 July 2020

Xzibit "Weapons Of Mass Destruction" (2004)


As an applause from a crowd dissipates, eerie synths glow in the backdrop as former president Bush's voice gives a chilling speech of his nefarious plans and ill intent. It grabbed my attention by the neck, a fine piece of work stitching his many hours of recorded voice together. Listening casually, it almost sounds legit, on closer inspection the details can be examined with a keen ear. I'm not sure I've heard a manipulation that good before! It certainly set the stage for Xzibit to kick off the record with firm fiery raps and a big stage beat on the album's second track L.A.X.

Unfortunately its a swift downhill trend from here. The production team bring this over assertive musicality to the project. Tracks are scarred by sung hooks deploying overt melodies and the instrumentals follow. A dense use of music theory that lacks the ear for what works. Even Xzibit gets in on these gaudy hooks by singing, which doesn't work. Its mostly jovial, upbeat and cheery. The vibe doesn't mix and there is a lot of repetition for an approach that wants to load in melody and layers. Its a better setting for something with a little Jazz Fusion yet this musicality is packaged into stiff loops.

X actually drops a fair amount of decent lyrics. At times he is tight, on point with a lot to say. Cold World sticks to the albums theme with a Middle Eastern perspective that is hard hitting. When not at his best, the loud droning beats tend to take over attention. Without his usual entourage the shift in tone and style fails to yield much that is memorable and produces more of whats mostly on the irritating side. The project is obnoxious, aiming for a more musical, tuneful Hip Hop record that could grab the Pop audience in the record sales charts. Its execution however is deaf to what makes that work. Its sub-par and at an hour in length its over bloated and hard to get through.

Favorite Tracks: State Of The Union, LAX, Cold World
Rating: 3/10

Tuesday 16 June 2020

Meshugah "I" (2004)


Part of the excitement leading to Catch Thirtythree was the build up in the Nuclear Blast magazine, the Swedish bands lable. Before its arrival the band would release another one song project, an EP with a lone twenty one minute song known as I. Rougher around the edges and with its drum machine identifications showing, I serves as the bridge between sounds. This was the Nothing and Chaosphere era of the band manifesting into a meaty riff fest of pummeling brutality with shades of the masterclass to come, however this was an exercise in sheer intensity.

Giving it a listen again for some time I find myself enamored by its coarse abrasion and flabbergasted as to how my memory of its genius faded. Perhaps that grinding intro of Bleed like guitar chugging meant I'd skip it over? How could I forget such magic? As the song grows it flexes some alien melodic guitar lines in the background, swelling groove and aggression in a hateful pot. Then comes the real axe grind, meaty poly chugs allure us into an absolute maelstrom of deafening blast beat madness... and then that solo! My word is it a blisteringly fast, finger bleeding assault on the strings baron of any melodic sense, it just starts, full on, then ends... I love it!

The song falls into a lull of discordant acoustics and then its returning riffs echo much of a Meshuggah in years to come with riffs conceptually liking to its predecessor. Pummeling its way on with simplistic grooves and far simpler slabs of head banging groove, a stretched elasticity starts to build suspension, unleashing more measures of hypnotic swaying. Those Catch Thirtythree shimmering tremolo guitars make an arrival in the background and I'm fondly loving the journey through this old treasure.

Listening again, one can really hear the transition play out as a progressive journey through the song. More elements of whats to come persuade the song as its birth through incessant brutality gives way to an arsenal of carefully crafted riffs that are just simply a delight to endure. Turning this song on to churn out some thoughts I am stunned again as to how much brilliance this band posses in their conceptual approach to ideas. These "one song" concepts steered the band from structural norms and in it the freedom to move births so many fantastical ideas. Its a real treat!

Rating: 8/10

Monday 6 April 2015

Anthemon "Dystopia" (2004)


Today we write about a personal classic, an album thats been with me for many years and has also been a little bit of a mystery as to how I actually found my way to this one, but over the years it's served as a record I can revisit time and time again. Anthemon were a French band from Paris who fused Symphonic Doom Metal with a operatic vocals, with a distinct sensibility for tuneful, moving melodies and lush, glacial atmospherics that gave them an identity unique to anyone who has been lucky enough to stumble across this now defunct group. After recording three records in three short years the band split up during the writing process of a fourth for reasons never expressed.

"Dystopia" is a concept, sound, an identity created through an aesthetic the entire album sticks too. A niche touch in creating a record that feels like it can only be best enjoyed listening all the way through, more so than nit picking songs. Although a couple of tracks stand out, this is eight tracks of steadily paced, lush doom, playing out crafted melodies and theatric, moody operatics in absorbing strength. The sound oozes a sensuous wall of symphony as brooding, dense, low distortion guitars ring out against uprising, bold, audacious symphonic strings that create a warm, absorbing air of wonder for captivating melodies, and melodramatic performances as the operatic leads soar high and exchange with beastly growls and screams from the harsh vocals, as sturdy drums and solid baselines steady the ship.

The melodics are infectious, tuneful leads that burst out from both the guitars and symphony in between brooding moments that move with the anticipation of the next tune. The craft is astounding, each riff, lead and vocal progresses with ease to the next state with a true architecture that far exceeds the atypical Metal approach to song structure and writing. Anthemon forge their music like a matured wine thats been brewed to the fullest of flavor. Guitars play out giving rhythms that lend themselves to the structure and progression while breaking out into glorious leads with the strings and synth. The mood of the record is a strange one, overall bright and uplifting, with an undercurrent of sadness, mostly heard in the operatics, that flirts with darker feelings as the lyrics brood and ponder on pain and the psyche of the mind.

From a technical perspective this is a grand sound that may feel a touch clustered at times, but does a tremendous job allowing the bright, gleaming leads to play out in unison alongside moody guitar distortions as the symphonies shine through with a bright hazy wall of bliss. The drums play an important roll, sounding crisp, punchy and big, yet playing a moderated roll, providing these songs with a sturdy backbone thats theatric, without stealing the show. The chemistry in the mix may really be in the music, but the lush sensuous aesthetic of this record does nothing but reinforce magical compositions that master their own conception. Truly a work of art that could be easily overlooked, but years of listening has shown me the wonder never dies with this one.

Favorite Songs: Above Us, Tuned To Dead Channel, Sereve Eves
Rating: 9/10

Wednesday 11 March 2015

Karl Sanders "Saurian Meditation" (2004)


"Saurian Meditation" is the first of two solo records by multi instrumental musician Karl Sanders of the prolific, ancient Egypt inspired, Death Metal band "Nile". For the average listener this record bares no resemblance to the bludgeoning sounds of Nile's music, but for those who hear the cultural mysticism between the blast beats and growls will know this record draws from the same inspirations.

The music is rich, ripe with cultural instruments and sounds that illustrate a vivid folk music we associate with ancient Egyptian culture. Scuttling Sistrums, tambourines and Tombaks narrate rhythms of pace that roar with the crash of giant cymbals as guitars, lutes and lyre's pluck affluent mystic melodies in eloquent, lively soundscapes that takes you to the ancient times of past in a manor so vivid your imagination needs little fuel. Images of mortal gods, serpents, hieroglyphics, seas of sand and the pyramids are painted with sound.

Not so much can be said for hooky melodies or grooves, this is not a theme or hook for modern music to execute ideas with. These songs are moments, passages that sway, contract and expand as Karl expresses ideas relevant to the times hes inspired by. The result is substantial, a brilliant work of music that resides inside itself, never conforming to modern musical ideas and exploring the ancient mystic world through cultural instruments and rich musicianship that pulls together songs from lush layers of sound flowing in unison. Theres variety in the ten tracks that make the record up and the final track brings in a distorted guitar leads in the Nile tone that sees a dark song climax with a distant roaring solo to end the record on a high and pay tribute to his band as this journey ends.

Favorite Tracks: Awaiting The Vultures, The Elder God Shrine, Temple Of Lunar Ascension, Whence No Traveler Returns, Beckon The Sick Winds Of Pestilence
Rating: 7/10

Wednesday 7 January 2015

Zornik "One-Armed Bandit" (2004)


One-Armed Bandit is the sophomore album of Belgium rockers "Zornik", a record I have spent much time enjoying and wrapping my head around. Zornik would be described as a "Rock" band, but in this modern era of music I find that term to be vague and nonspecific, a generalization for the traditional guitar, bass, vocal and drums band format. Their sound on "One-Armed Bandit" is characterized by some Indie and Alternative influences as well as a strong 90s Pop Rock undercurrent. They also spruce up their pallet with some additional synthesizers and electronic elements, giving this record a diversity thats strengthened by the varied approaches in songwriting. I'm glad I gave this record a chance, usual I look to abrasive sounds and confrontation for appealing musical ideas, this record reminded me that good music can be found in the most approachable of styles too.

For me, this album was mostly defined by the mood and tone set by vocalist Koen Buyse's soft and gentle, emotionally driven presence that would very much guide and mold these songs as the accommodating instrumentals built powerful and moving settings around his narrative which swims through a current of heartbreak and sorrow that comes through in his performances. They are heartfelt and strong, giving a real sense of a troubled soul letting it out through the music, and despite this bluesy and moody feel, these songs feel bright and positive, mostly to the credit of the accommodating instrumentals. Buyse's voice has fantastic range and flight when hitting graceful high notes, he often opts to balance it with gently spoken numbers that elevate his higher range in to epic moments in the songs that make up this record.

Instrumentally, these songs are tame, gentle and humble, strolling through calm and collected instrumentals that grace through inspired melodics. There strength is in the moments between their quieter sound where the group can build up the volume and intensity with overdriven guitars and climatic progressions utilizing Buyse's impressive high range. It gives this record great flow, and theres no shortage of variety between the tracks, which can shift gears effortlessly between different intensities. Theres a great Pop sensibility about some of the vocal leads, and no shortage of energetic riffage that fuses into the tracks from time to time. Its a warm and compassionate listen that grows on me with every listen, looking forward to more from this band!

Favorite Tracks: Scared Of Yourself, Miracles, The Place, We Are Lost
Rating: 6/10