tag:blogger.com,1999:blog-47027266992135044642024-03-08T08:40:31.429-08:00Sound WriterBryce Murphyhttp://www.blogger.com/profile/04012670966156122386noreply@blogger.comBlogger86125tag:blogger.com,1999:blog-4702726699213504464.post-46597781083235835002012-02-01T23:40:00.001-08:002012-02-01T23:42:11.357-08:002011 HBG- Gothic/Industrial/Darkwave<p align="justify"><strong>Sections: <br /></strong>-<a href="http://soundwriter.blogspot.com/2011/12/2011-hbg-introduction.html">Introduction</a> <br />-<a href="http://soundwriter.blogspot.com/2011/12/2011-hbg-rock.html">Rock</a> <br />-<a href="http://soundwriter.blogspot.com/2011/12/2011-hbg-hip-hop.html">Hip Hop</a> <br />-<a href="http://soundwriter.blogspot.com/2011/12/2011-hbg-melodeaththrashsludge-metal.html">Melodeath/Thrash/Sludge Metal</a> <br />-<a href="http://soundwriter.blogspot.com/2011/12/2011-hbg-electronic.html">Electronic</a> <br />-<a href="http://soundwriter.blogspot.com/2011/12/2011-hbg-powersymphonicfolk-metal.html">Power/Symphonic/Folk Metal</a> <br />-<a href="http://soundwriter.blogspot.com/2011/12/2011-hbg-alternativeindie-rock.html">Alternative/Indie Rock</a> <br />-<a href="http://soundwriter.blogspot.com/2011/12/2011-hbg-progressive.html">Progressive</a> <br />-<a href="http://soundwriter.blogspot.com/2011/12/2011-hbg-hardcore.html">Hardcore</a> <br />-<a href="http://soundwriter.blogspot.com/2012/01/2011-hbg-death-metal.html">Death Metal</a> <br />-<a href="http://soundwriter.blogspot.com/2012/01/2011-hbg-black-metal.html">Black Metal</a> <br />-<a href="http://soundwriter.blogspot.com/2012/01/2011-hbg-ambientpost-rock.html">Ambient/Post-Rock</a> <br />-<a href="http://soundwriter.blogspot.com/2012/02/2011-hbg-gothicindustrialdarkwave.html">Gothic/Industrial/Darkwave</a> <br />-Folk- Coming Soon <br />-Doom Metal- Coming Soon <br />-Experimental- Coming Soon</p> <p align="justify"> </p> <p align="justify">Actual gothic music is unfortunately past is golden age, but that’s not to say that it’s a dead genre. As evidenced by the following 10 albums, there is plenty to like about contemporary gothic music. Whether you like your music beautiful or brutal, there’s something here for you.</p> <p align="justify"> </p> <p align="justify"><img style="display: inline; float: left" title="karzinom" alt="karzinom" align="left" src="http://lh6.ggpht.com/-qaI4HSAsXpI/Tyo91rZdWfI/AAAAAAAABPE/H1klmqWO8b0/karzinom4.jpg?imgmax=800" width="200" height="200" /></p> <p align="justify">Acylum <br />Karzinom</p> <p align="justify">Acylum’s <em>Karzinom</em> is an album of dark industrial beats, morbid lyrics, and some truly great atmosphere. Despite the over-the-top subject matter, there’s a lot of subtlety to the music. The beats change far more than the usual for EBM (electronic body music), which makes <em>Karzinom</em> is far more interesting than most other albums in the genre. Acylum keeps things unpredictable and even maddening, and the strained vocals give this dark album another haunting layer. There’s even legitimate emotion here, especially on the masterful “Angel.” As far as industrial music goes, <em>Karzinom</em> is one of the year’s best albums, and while it’s not necessarily accessible, it’s good enough to be recommended even to those who have know idea what EBM is.</p> <p align="justify"> </p> <p align="justify"><img style="display: inline; float: left" title="eifelian" alt="eifelian" align="left" src="http://lh4.ggpht.com/-Qvm03GOGG44/Tyo910qSxBI/AAAAAAAABPM/V_vopvRAlVk/eifelian2.jpg?imgmax=800" width="200" height="200" /></p> <p align="justify">Autumn’s Grey Solace <br />Eifalian</p> <p align="justify">While Autumn Grey Solace incorporate darkwave, gothic rock, and ambient into their sound, their influences really aren’t all that important. <em>Eifalian</em> isn’t so much a unique album as it is a really beautiful one. Much of the music is very simple, just unintelligible female singing over slow atmospheric riffs and light drumming, but the way that Autumn Grey Solace’s sound comes together is capable of putting any listener in a trance. It’s just beautiful atmospheric music, almost hypnotic at times, and it’s simple pleasure is what makes ethereal music so appealing. Again, it’s nothing especially different, but <em>Eifalian</em> is effective at what its does, and it’s a very enjoyable listen.</p> <p align="justify"> </p> <p align="justify"><img style="display: inline; float: left" title="the new earth" alt="the new earth" align="left" src="http://lh4.ggpht.com/-aQZusyKIs9g/Tyo92NzBWMI/AAAAAAAABPU/cK168zdgusg/the-new-earth2.jpg?imgmax=800" width="200" height="200" /></p> <p align="justify">Aythis <br />The New Earth</p> <p align="justify">Aythis’ <em>The New Earth</em> is the intertwining of cinematic and gothic sounds. That works both for and against it. Much of the music is exceptionally beautiful, but too much of the album sounds like extended interludes or a film score to visuals that don’t actually exist. When it works it’s excellent, and thankfully it works more often than not. The more fleshed out songs are strikingly gorgeous, and the cinematic ambiance makes them epic sounding as well. That’s not an easy combination to have, but tracks like “Silvery Night” really do blend epic theatrical sounds with a more subtle beauty. It certainly has its flaws, but anyone looking for a beautiful darkwave or neofolk album will find a lot to like here.</p> <p align="justify"> </p> <p align="justify"><img style="display: inline; float: left" title="counting to zero" alt="counting to zero" align="left" src="http://lh6.ggpht.com/-M8pTsR2g4to/Tyo92VgqdvI/AAAAAAAABPc/61737vJhq_k/counting-to-zero2.jpg?imgmax=800" width="200" height="200" /></p> <p align="justify">Collide <br />Counting to Zero</p> <p align="justify">Few artists balance harsh and beautiful sounds as well as Collide. The noisy production contrasts perfectly with the gorgeous female vocals, and <em>Counting to Zero</em> only farther expands on what makes Collide such an outstanding duo. That contrast still works, and more than a decade after they became minor critical darlings with <em>Chasing the Ghost</em>, they still find ways to add to their sound. Producer Statik is never afraid to try new things, and once the music finds its groove he’ll add in surprising new elements, all of which work well within that aforementioned contrast. Simply put, <em>Counting to Zero</em> is a beautiful album, and it’s an intense album. It also happens to be an extraordinary mix of darkwave and industrial, and an album that should definitely be listened to.</p> <p align="justify"> </p> <p align="justify"><img style="display: inline; float: left" title="innere apokalypse" alt="innere apokalypse" align="left" src="http://lh3.ggpht.com/-zTKXKnsMkng/Tyo92k9uLZI/AAAAAAAABPk/zbqW4kETtJQ/innere-apokalypse2.jpg?imgmax=800" width="200" height="200" /></p> <p align="justify">Gedankenrasen <br />Innere Apokalypse</p> <p align="justify">Varied, almost to a fault, Gedankenrasen’s <em>Apokalypse</em> is an album that has elements of just about everything in modern gothic music. There are a few tracks are either pure darkwave, industrial, or gothic rock, but the strongest moments of the album come when Gedankenrasen pulls out all the stops and creates music that I can genuinely say is unlike anything I’ve ever heard. Take the track “Angst,” for example. The heavy wobbling synth beat is downright maddening, and the German blackened growls are raw and intense. Then add in the subtle yet beautiful violins, and you’re left with a song that encompasses everything that gothic music should be. While nothing else on <em>Apokalypse</em> quite lives up to that, there are some pretty interesting experiments that are worth hearing. While it’s great to hear so much variety, it becomes clear where Gedankenrasen’s strength lies. The intense moments are easily the best on the album, and when that intensity fades the lower energy tracks simply aren’t as strong. Still, much of <em>Apokalypse</em> is excellent, and at its best it’s what gothic music is all about. </p> <p align="justify"> </p> <p align="justify"><img style="display: inline; float: left" title="garden of dilmun" alt="garden of dilmun" align="left" src="http://lh6.ggpht.com/-YFAsauo5HgU/Tyo923VotMI/AAAAAAAABPs/Iy54L8WUjEM/garden-of-dilmun3.jpg?imgmax=800" width="200" height="200" /></p> <p align="justify">Seventh Harmonic <br />Garden of Dilmun</p> <p align="justify">From great compositions to excellent operatic vocals, Seventh Harmonic’s third album is exactly what a neo-classical darkwave album should be. Its dark and haunting atmosphere is made using a mix of strings and hard drum beats that are mostly played at a slow pace. That pace rarely picks up, and while a few of the songs build to nothing as a result, most of the music on <em>Garden of Dilmun</em> is better for it. This is exceptionally beautiful work, and it’s rare to hear classical music used so well with contemporary gothic sounds. If you’re looking for a great darkwave album, or even a great modern classical release, then the latest from this all-female group is an excellent choice.</p> <p align="justify"> </p> <p align="justify"><img style="display: inline; float: left" title="have you seen this ghost" alt="have you seen this ghost" align="left" src="http://lh3.ggpht.com/-uePVHvbeaNw/Tyo924I1anI/AAAAAAAABP0/qh6MUpGR4Rc/have-you-seen-this-ghost23.jpg?imgmax=800" width="200" height="200" /> </p> <p align="justify">Sopor Aeternus & the Ensemble of Shadows <br />Have You Seen This Ghost?</p> <p align="justify">The always interesting Sopor Aeternus released two albums in 2011, the better of which was the ultra dark and experimental <em>Have You Seen This Ghost?</em> It’s a weird album to say the least, with creepy vocals reminiscent of Devil Doll, as well as dark gothic instrumentals with a heavy classic influence. It all makes for a wildly entertaining album that ranges from being incredibly silly to legitimately serious, often doing so quickly without being too abrupt. It’s almost like a gothic Devin Townsend album in that sense. The music here is consistently unique as well. Few songs sound alike, yet all of it forms a cohesive package, and one that any fan of gothic, darkwave, or experimental music should listen to.</p> <p align="justify"> </p> <p align="justify"><img style="display: inline; float: left" title="thorn in my flesh" alt="thorn in my flesh" align="left" src="http://lh4.ggpht.com/-0NVl-ylIKaw/Tyo93HOFu_I/AAAAAAAABP8/F88suoUs5mk/thorn-in-my-flesh4.jpg?imgmax=800" width="200" height="200" /></p> <p align="justify">X-Fusion <br />Thorn in My Side</p> <p align="justify">X-Fusion is the rare harsh EMB producer who puts subtlety into his sound, and his beats are more intense and have more longevity as a result. The vocals are mostly distorted screams, which is typical for the genre, but most of X-Fusion’s music shows a willingness to mix in elements from outside of his genre. Again, all of this comes without losing the aggressiveness that makes the genre appealing to begin with, and outside of Psyclon Nine I’m not sure there’s any other aggrotech artist I would recommend more to newcomers than X-Fusion. The reason I’m referring to the artist and not the album is that <em>Thorn in My Side</em> really is just more from X-Fusion. Everything you could say about his past albums can be said for this one as well. Yes, the sound was more, well, original the first time around, but a lot of the subtleties have been polished. It all comes out in a wash, and in the case of X-Fusion more of the same is really what you’d want.</p> <p align="justify"> </p> <p align="justify"><img style="display: inline; float: left" title="somewhere between" alt="somewhere between" align="left" src="http://lh6.ggpht.com/-OcHhhuSsN-I/Tyo93TuWGMI/AAAAAAAABQE/qHDPy-JH5_M/somewhere-between2.jpg?imgmax=800" width="200" height="200" /></p> <p align="justify">You Shriek <br />Somewhere Between (Heaven & Sorrow)</p> <p align="justify">There aren’t many quality synthpop albums being released these days, so You Shriek’s <em>Somewhere Between (Heaven & Sorrow)</em> really stands out. This is an atmospheric album with some catchy melodies and a ton of variety. Tracks like “Well Enough Alone” are pure catchy pop music, while others like “No Heroes” and “Heaven & Sorrow” border on darkwave. The variety works both for against You Shriek. The album will often bounce around from style to style, never letting the listener get used to a specific sound. Instead, <em>Somewhere Between</em> sounds like a modern band recreating as many different subgenres of new wave as possible over the course of an album. What makes it work is the quality of the individual tracks, as everything on You Shriek’s album does justice to their influences, even if nothing here is all that original.</p> <p align="justify"> </p> <p align="justify"><img style="display: inline; float: left" title="conatus" alt="conatus" align="left" src="http://lh5.ggpht.com/-tdH4Y2wktWU/Tyo93kJATYI/AAAAAAAABQM/s7SK7mczsuM/conatus2.jpg?imgmax=800" width="200" height="200" /></p> <p align="justify">Zola Jesus <br />Conatus</p> <p align="justify">After two excellent EP’s in 2010, Zola Jesus has returned with a solid full length album. <em>Conatus</em> is somewhat inconsistent, and only at times lives up to Zola Jesus’ potential. After her breakout EPs, that’s a bit of disappointment. Still, the vast majority of <em>Conatus</em> is very good, highlighted by her incredible singing voice reminiscent of the legendary Siouxsie Sioux. Her compositions are ambitious, and when everything comes together it’s nothing short of incredible. “Vessel,” for example, is a beautiful atmospheric masterpiece that perfectly blends together Zola Jesus’ vast array of influences. Most of <em>Conatus</em> is sort of darkwave, sort of industrial, sort of post-punk, and definitely experimental. It can all get overwhelming at times, and even with Zola Jesus’ powerful voice some the ballads can get repetitive. Still, most of it works, and the amazing highs make <em>Conatus</em> a great listen.</p> Bryce Murphyhttp://www.blogger.com/profile/04012670966156122386noreply@blogger.com0tag:blogger.com,1999:blog-4702726699213504464.post-18800678835929431662012-01-13T03:15:00.001-08:002012-02-01T23:44:36.332-08:002011 HBG- Ambient/Post-Rock<strong>Sections: <br /></strong>-<a href="http://soundwriter.blogspot.com/2011/12/2011-hbg-introduction.html">Introduction</a> <br />-<a href="http://soundwriter.blogspot.com/2011/12/2011-hbg-rock.html">Rock</a> <br />-<a href="http://soundwriter.blogspot.com/2011/12/2011-hbg-hip-hop.html">Hip Hop</a> <br />-<a href="http://soundwriter.blogspot.com/2011/12/2011-hbg-melodeaththrashsludge-metal.html">Melodeath/Thrash/Sludge Metal</a> <br />-<a href="http://soundwriter.blogspot.com/2011/12/2011-hbg-electronic.html">Electronic</a> <br />-<a href="http://soundwriter.blogspot.com/2011/12/2011-hbg-powersymphonicfolk-metal.html">Power/Symphonic/Folk Metal</a> <br />-<a href="http://soundwriter.blogspot.com/2011/12/2011-hbg-alternativeindie-rock.html">Alternative/Indie Rock</a> <br />-<a href="http://soundwriter.blogspot.com/2011/12/2011-hbg-progressive.html">Progressive</a> <br />-<a href="http://soundwriter.blogspot.com/2011/12/2011-hbg-hardcore.html">Hardcore</a> <br />-<a href="http://soundwriter.blogspot.com/2012/01/2011-hbg-death-metal.html">Death Metal</a> <br />-<a href="http://soundwriter.blogspot.com/2012/01/2011-hbg-black-metal.html">Black Metal</a> <br />-<a href="http://soundwriter.blogspot.com/2012/01/2011-hbg-ambientpost-rock.html">Ambient/Post-Rock</a> <br />-<a href="http://soundwriter.blogspot.com/2012/02/2011-hbg-gothicindustrialdarkwave.html">Gothic/Industrial/Darkwave</a> <br />-Folk- Coming Soon <br />-Doom Metal- Coming Soon <br />-Experimental- Coming Soon <p> </p> <p>Ambient music and its more rock-influenced cousin, post-rock, had many great releases in 2011. Established greats returned with new albums that didn’t disappoint, plenty of newcomers added their new ideas to the mix, and a few old favorites even returned to form. More so than ever before, ambient music is appealing to wider audience, and 2011 had plenty of albums that should appeal to anyone who enjoys the simpler and slower side of music.</p> <p> </p> <p><img style="display: inline; float: left" title="take care take care take care" alt="take care take care take care" align="left" src="http://lh4.ggpht.com/-Rr3CpnMDsjQ/TxASW07I1dI/AAAAAAAABNc/zM7QNHu8Xik/take-care-take-care-take-care3.jpg?imgmax=800" width="200" height="200" /></p> <p>Explosions in the Sky <br />Take Care, Take Care, Take Care</p> <p>I admit that I came into <em>Take Care, Take Care, Take Care</em> expecting more of the same from Explosions in the Sky. Their last album was solid, but there was a feeling that this band may have taken their sound as far as it can go. While <em>Take Care…</em> doesn’t necessarily reach the heights of their best albums, it has a surprising amount of diversity that takes their established sound in interesting new directions. It keeps the band’s blend epic and often beautiful post-rock, while adding subtle indie rock elements. “Trembling Hands” is the most obvious example of this, as it incorporates looped “ooh”s over a kind of post-rock/indie hybrid instrumental. It sounds strange at first, but the song builds into a fairly epic conclusion (albeit one that comes a little too soon). Things like that appear all over the album, often in more subtle ways. The structure of the more pure post-rock songs isn’t always what one would expect, especially from a band that many have criticized for their often predictable song structure. The conclusions aren’t always as epic as they’ve been in the past, and the chaotic and emotionally draining moments of past Explosions in the Sky aren’t as prevalent here. It’s a trade-off, and one that might silence a few of the band’s critics. For fans of Explosions in the Sky, <em>Take Care, Take Care, Take Care</em> is a solid album that isn’t as much of a journey as <em>The Earth is Not a Cold Dead Place</em> or <em>Those Who Tell the Truth Shall Die, Those Who Tell the Truth Shall Live Forever</em>, but Explosions have changed their sound enough to keep things interesting while still maintaining much of what garnered them followers in the first place.</p> <p> </p> <p><img style="display: inline; float: left" title="hoping for the invisible to ignite" alt="hoping for the invisible to ignite" align="left" src="http://lh4.ggpht.com/-hPo7W0YDMY4/TxASXD0DG8I/AAAAAAAABNk/VebOY6L63LA/hoping-for-the-invisible-to-ignite2.jpg?imgmax=800" width="200" height="200" /></p> <p>Farewell Poetry <br />Hoping for the Invisible to Ignite</p> <p>When it comes to lyrics, there has also been a debate about its relation to poetry. Farewell Poetry don’t exactly take a side in that debate, but they certainly relate to it. <em>Hoping for the Invisible to Ignite</em> is as much performance poetry as it is post-rock. Jayne Amara Ross is the poet, and she reads her work over ambient post-rock that wraps itself around the words. The focus is on the poetry, and the instrumentation changes to fit the words and subsequently build with them. The two parts are never at odds, and the tension they create are a product of both working together. The work as a whole it haunting, beautiful, and interesting, and it’s the type of album that can be analyzed both as poetry and music. The case can be made that the poetry has become lyrics in the way that it’s used, but there’s definitely something different going on here. I can’t say I’ve ever hard music and lyrics that relate so well, and it’s interesting to hear an album that focuses on the words and builds the music around it. Regardless of how its classified, <em>Hoping for the Invisible to Ignite</em> is an incredibly unique work of art, and one that deserves the attention of any music lover.</p> <p> </p> <p><img style="display: inline; float: left" title="a l a" alt="a l a" align="left" src="http://lh4.ggpht.com/-iUMQDkOSpNo/TxASXRTKzRI/AAAAAAAABNs/MTOFFdheEOY/a-l-a2.jpg?imgmax=800" width="200" height="200" /></p> <p>Grouper <br />A I A</p> <p>Released as a double album on vinyl and separately as individual albums digitally, Grouper’s <em>A I A: Dream Loss</em> and <em>A I A: Alien Observer</em> are distinct stylistically, but work brilliantly together. The first part, <em>Dream Loss</em> is full of fuzzy drone ambiance and is far heavier than fans of Grouper’s more melodic <em>Dragging a Deer Up a Hill</em> might be used to. Still, Liz Harris’ vocals are beautiful, albeit used more as background in <em>Dream Loss</em>, but the music ends up being a dark and uneasy wave of ambient beauty. The second half, <em>Alien Observer</em> is catchier and more vocal-heavy while still building on the drone-aspect of the first half. Each part is great on its own, but as a whole <em>A I A</em> is something special. The way that everything comes together after 75 minutes is extraordinary, as there’s a full spectrum of varied, emotional music on display, and it’s simply gorgeous from start to finish. This is one of the best albums of 2011, and an essential release for anyone with a passing interest in ambient music.</p> <p> </p> <p><img style="display: inline; float: left" title="glimmer" alt="glimmer" align="left" src="http://lh6.ggpht.com/-TVZ08tChDN4/TxASXs43BVI/AAAAAAAABN0/8R2_51c6A4Q/glimmer2.jpg?imgmax=800" width="200" height="200" /></p> <p>Jacaszek <br />Glimmer</p> <p>Ambient fans can rest easy. After a hugely disappointing follow up to the wonderful <em>Treny</em>, Michael Jacaszek is back on the right track. <em>Glimmer</em> picks up right where <em>Treny</em> left off, with muddy ambient tunes that are complex and uneasy while being oddly soothing at the same time. This comes from Jacaszek’s exceptional layering, as he creates a powerful background atmosphere where slow building electronic, drone, and acoustic sounds can form over it. It sounds like two distinct tracks being played over each other, but they way they match up and eventually form into one cohesive sound is nothing short of incredible. Jacaszek also plays with volume in ways that a noise musician would, ranging things from near silent to full volume, and changing volume quicker than the music. When all is said and done, <em>Glimmer</em> is an outstanding album. This is the type of ambient release with tons of depth and subtlety, and it sees this talented musician heading in the right direction once again.</p> <p> </p> <p><img style="display: inline; float: left" title="ascension" alt="ascension" align="left" src="http://lh4.ggpht.com/-k8nYIcNG-ho/TxASX5b0IcI/AAAAAAAABN8/rGi4PUTX6bg/ascension2.jpg?imgmax=800" width="200" height="200" /></p> <p>Jesu <br />Ascension</p> <p>With his self-titled debut in 2004 and the masterful <em>Silver</em> EP in 2006, there was a time not too long ago when Jesu looked to be the future of ambient music. His blend of so many different types of heavy ambient sounds was both original and powerful, and even somewhat accessible. After a string of disappointing albums since, it’s somewhat of a surprise to see Jesu return with an album that can be compared to his early work. Don’t get me wrong, <em>Ascension</em> is not the best album Jesu has made, but it’s easily the finest work of his since <em>Silver. Ascension</em> is not a return to the all-purpose ambient sound of early Jesu, but instead a simpler and more focused effort. There are shoegaze elements, as well as heavy metal and drone elements, and they mix in such a way where the tracks sound like cohesive, well constructed music, and less like a barrage of individual sounds and influences. <em>Ascension</em> just oozes atmosphere, and while it may be a simpler take on Jesu’s sound, that’s all for the better. This is a beautiful, well refined album, and it makes this talented artist worth listening to again.</p> <p> </p> <p><img style="display: inline; float: left" title="tragedy" alt="tragedy" align="left" src="http://lh6.ggpht.com/-0GQXg1aPAPQ/TxASYOahJQI/AAAAAAAABOE/kgmeCJ8PafY/tragedy2.jpg?imgmax=800" width="200" height="200" /></p> <p>Julia Holter <br />Tragedy</p> <p>It’s always strange to hear ambient music that is legitimately catchy. <em>Tragedy</em> by Julia Holter is a catchy ambient album, but more importantly it’s a great one. This is the kind of original album that should appeal to ambient listeners, while introducing new listeners to the beauty of atmospheric art. Holter has drawn comparisons to Grouper, mostly due to that aforementioned catchiness, but it’s more that she’s one of the few others to actually pull off this type of sound. The influences on <em>Tragedy</em> are quite different from Grouper, as Holter pulls less from drone and heavier ambient and more from classical and chamber music, which makes for an interesting contrast to the low vocals. The vocals may seem out of place at first, but it really does work well with the music. Again, that contrast is important, as it allows the atmosphere to become more varied. There’s both light and dark here, and often the vocals bring out the darker side of <em>Tragedy</em>. Overall, this is a multi-layered work of art, and an exceptional ambient release that is both unique and accessible.</p> <p> </p> <p><img style="display: inline; float: left" title="long distance calling" alt="long distance calling" align="left" src="http://lh6.ggpht.com/-Jgy2WYa_5Zk/TxASYVRs1vI/AAAAAAAABOM/RUGMIx_oiYM/long-distance-calling2.jpg?imgmax=800" width="200" height="200" /></p> <p>Long Distance Calling <br />Long Distance Calling</p> <p>Long Distance Calling’s self-titled third album is slightly more streamlined than their first two. There are moments where the music is almost indistinguishable from the average post-rock band, and that’s certainly disappointing. However, when Long Distance Calling works in their progressive, psychedelic, and metal influences, things get a lot more interesting. Thankfully most of this album has those in some capacity, and as a result each song becomes progressively crazier as it moves along. This isn’t necessarily post-rock that you feel an emotion connection with, although there are moments that come close, but instead post-rock with some solid riffs and atmosphere. It’s great to hear progressive solos transition into the traditional post-rock sound, and even when parts of <em>Long Distance Calling</em> seem familiar and even boring, there’s always something around the corner to redeem it.</p> <p> </p> <p><img style="display: inline; float: left" title="i was here for a moment" alt="i was here for a moment" align="left" src="http://lh6.ggpht.com/-DI0Ta_j2nm8/TxASYiajX1I/AAAAAAAABOU/74tc5X0bFSA/i-was-here-for-a-moment7.jpg?imgmax=800" width="200" height="200" /></p> <p>Maybeshewill <br />I Was Here for a Moment, Then I Was Gone</p> <p>The problem with Maybeshewill has never been in their post-rock sound. At the core of their music lied a beautiful, extremely well executed take on the genre. It’s been the other stuff, or more specifically how the other stuff fits in with the post-rock foundation, that hasn’t always gone right. With their third album, Maybeshewill have removed the “other stuff” from their sound. Gone are the samples, the vocals, and the electronic influences. What you’re left with is a far more focused album, and one that still does things differently enough from other post-rock albums to make it stand out. The songs here are more aggressive and build at a faster pace than most other contemporary post-rock, and this works to the album’s advantage. There are still beautiful moments, heavy moments, and stunning climaxes, but it’s done in a much shorter package. This is not an atmospheric epic, so much as a collection of individual songs that are technical, varied, and just so happen to share the structure and sound of bands like Mogwai, Explosions in the Sky, and God is an Astronaut. To some, <em>I Was Here For a Moment, Then I Was Gone</em> may be seen has an original band conforming to the masses. In some ways it is, but what remains is a well above average post-rock album that does what it does very well.</p> <p> </p> <p><img style="display: inline; float: left" title="plains of the purple buffalo" alt="plains of the purple buffalo" align="left" src="http://lh6.ggpht.com/--a4hcH_JBVY/TxASY7iC6ZI/AAAAAAAABOc/kYUxDKtho34/plains-of-the-purple-buffalo3.jpg?imgmax=800" width="200" height="200" /></p> <p>*Shels <br />Plains of the Purple Buffalo</p> <p><em>Plains of the Purple Buffalo</em> is a post-rock/ambient album completely unconcerned with being beautiful or pretty. This is a rough, sludge-y album that may have some lighter melodic moments, but gets a lot out of the heavy riffs it builds towards. There’s a great deal of atmosphere, although *Shels surprisingly deals with the atmosphere better during the heavier parts. *Shels also use of an interesting array of instruments, and while <em>Plains of the Purple Buffalo</em> is certainly a post-rock album that goes from light to heavy, the type of light and heavy is very unique for the genre. Few albums have the unpredictability of this one, and while not every moment is great, <em>Plains of the Purple Buffalo</em> has many awe-inspiring parts that make the rough spots worth enduring.</p> <p> </p> <p><img style="display: inline; float: left" title="deaden the fields" alt="deaden the fields" align="left" src="http://lh4.ggpht.com/-N3is7o3zlBo/TxASZKenQNI/AAAAAAAABOk/Kv3ZQygIFQE/deaden-the-fields2.jpg?imgmax=800" width="200" height="185" /></p> <p>Tangled Thoughts of Leaving <br />Deaden the Fields</p> <p>One of 2011’s most original albums and overall best debuts, <em>Deaden the Fields</em> is a very promising first release from Tangled Thoughts of Leaving. This jazz-influenced post-rock album is absolutely crazy, taking the structure of post-rock and introducing some very interesting sounds to the mix. The jazz influence is at the forefront, but there’s also progressive rock, metal, and tons of avant-garde music. At times the tracks can sound like experimental electronic pieces with noises that sound like something from a Satanicpornocultshop or The Residents song. Not all of the songs progress well enough, notably when parts stop and drastic new sounds are introduced at odd times, but for the most Tangled Thoughts of Leaving do a solid job of condensing a vast array of influences into songs that build logically.</p> Bryce Murphyhttp://www.blogger.com/profile/04012670966156122386noreply@blogger.com2tag:blogger.com,1999:blog-4702726699213504464.post-59296027921978837782012-01-07T09:04:00.001-08:002012-02-01T23:42:45.340-08:002011 HBG- Black Metal<strong>Sections: <br /></strong>-<a href="http://soundwriter.blogspot.com/2011/12/2011-hbg-introduction.html">Introduction</a> <br />-<a href="http://soundwriter.blogspot.com/2011/12/2011-hbg-rock.html">Rock</a> <br />-<a href="http://soundwriter.blogspot.com/2011/12/2011-hbg-hip-hop.html">Hip Hop</a> <br />-<a href="http://soundwriter.blogspot.com/2011/12/2011-hbg-melodeaththrashsludge-metal.html">Melodeath/Thrash/Sludge Metal</a> <br />-<a href="http://soundwriter.blogspot.com/2011/12/2011-hbg-electronic.html">Electronic</a> <br />-<a href="http://soundwriter.blogspot.com/2011/12/2011-hbg-powersymphonicfolk-metal.html">Power/Symphonic/Folk Metal</a> <br />-<a href="http://soundwriter.blogspot.com/2011/12/2011-hbg-alternativeindie-rock.html">Alternative/Indie Rock</a> <br />-<a href="http://soundwriter.blogspot.com/2011/12/2011-hbg-progressive.html">Progressive</a> <br />-<a href="http://soundwriter.blogspot.com/2011/12/2011-hbg-hardcore.html">Hardcore</a> <br />-<a href="http://soundwriter.blogspot.com/2012/01/2011-hbg-death-metal.html">Death Metal</a> <br />-<a href="http://soundwriter.blogspot.com/2012/01/2011-hbg-black-metal.html">Black Metal</a> <br />-<a href="http://soundwriter.blogspot.com/2012/01/2011-hbg-ambientpost-rock.html">Ambient/Post-Rock</a> <br />-<a href="http://soundwriter.blogspot.com/2012/02/2011-hbg-gothicindustrialdarkwave.html">Gothic/Industrial/Darkwave</a> <br />-Folk- Coming Soon <br />-Doom Metal- Coming Soon <br />-Experimental- Coming Soon <p align="justify">  </p> <p align="justify">While it’s been part of the “extreme metal” section in the past, black metal had such a good year in 2011 that it needed its own category. Much of this is due to the rise in atmospheric black metal, a subgenre that combines the core sound with post-rock, shoegaze, and ambient music, but there were plenty of great traditional, symphonic, and even melodic black metal albums released in 2011 as well. Here are 10 of the best.</p> <p align="justify"> </p> <p align="justify"><img style="display: inline; float: left" title="everything" alt="everything" align="left" src="http://lh6.ggpht.com/-tGswU206qbQ/Twh7JyX2PgI/AAAAAAAABMI/ZMb1gEPLUks/everything9.jpg?imgmax=800" width="200" height="200" /></p> <p align="justify">An Autumn for Crippled Children <br />Everything</p> <p align="justify">Stylistically, <em>Everything</em> is a big change from An Autumn for Crippled Children’s debut last year. That album, <em>Lost</em>, was a unique and powerful black and doom metal hybrid. <em>Everything</em> is a more typical “blackgaze” album, as the doom metal influences are a lot less prominent this time around. This might be a disappointment to fans, but thankfully An Autumn for Crippled Children have made a great album that stands a cut above the vast majority of the many other atmospheric black metal albums released in 2011. The atmosphere here is really strong, and the balance between beautiful and brutal is nearly perfect.</p> <p align="justify"> </p> <p align="justify"><img style="display: inline; float: left" title="passion" alt="passion" align="left" src="http://lh3.ggpht.com/--x-Vrtv3AK0/Twh7KO4WkpI/AAAAAAAABMQ/uCo46XtcyB0/passion4.jpg?imgmax=800" width="200" height="200" /></p> <p align="justify">Anaal Nathrakh <br />Passion</p> <p align="justify">Uncompromisingly brutal, the part-black metal, part-death metal, part-grindcore <em>Passion</em> is an album that is every bit as creative as it is heavy. Anaal Nathrakh’s sound has always been fast and heavy, but on <em>Passion</em> the group is more consistent than they’ve ever been. Every song is a sonic assault that takes elements from just about every form of an extreme metal. It never settles, as even the drums constantly switch from snare-heavy black metal to blastbeats. The vocals switch between high and low growls, sometimes as often as every syllable, and it all makes for some chaotic and truly unpredictable music. Everything that Anaal Nathrakh do has been done before in some capacity, but the way that it all comes together on <em>Passion</em> is heavier than just about anything else in metal music.</p> <p align="justify"> </p> <p align="justify"><img style="display: inline; float: left" title="takasago army" alt="takasago army" align="left" src="http://lh5.ggpht.com/-HjVognt2kzM/Twh7KeBHW8I/AAAAAAAABMY/VrlsZs90_SQ/takasago-army4.jpg?imgmax=800" width="200" height="200" /></p> <p align="justify">Chthonic <br />Takasago Army</p> <p align="justify">One might not think that a black metal album influenced by Taiwanese folk music would be accessible, but that’s exactly what Chthonic have accomplished with <em>Takasago Army</em>. On first listen the oriental folk elements may be the most noticeable aspect of the music, but that’s really not the main part of Chthonic’s sound. This is a symphonic black metal album through and through, and it’s a damn good one at that. Few albums manage to at the same time be as cinematic, brutal, and catchy, and what’s more is that the symphonic core of the music does not compromise the more extreme parts of Chthonic’s sound. This is symphonic black metal that works, both as an accessible starting point for newcomers to black and death metal, and as something truly unique for established fans of extreme metal. <em>Takasago Army</em> is unlike any other album released in 2011, and cements Chthonic’s place as one the most innovative artists in modern metal.</p> <p align="justify"> </p> <p align="justify"><img style="display: inline; float: left" title="roads to judah" alt="roads to judah" align="left" src="http://lh3.ggpht.com/-d1OP2n3mUn0/Twh7KbRtV9I/AAAAAAAABMg/LtSmykjX83o/roads-to-judah2.jpg?imgmax=800" width="200" height="200" /></p> <p align="justify">Deafheaven <br />Roads to Judah</p> <p align="justify">Deafheaven start their first full length album off with what may be one of the finest extreme metal songs I’ve ever heard. The epic 12 minute “Violet” starts out purely ambient, builds towards a solid few minutes of post-rock that is beautiful while still being heavy, and then goes absolutely insane. The drums subtlety get faster and more snare dependent until it finally reaches full on black metal status. That’s when the vocalist belts out a powerful growl, and by the way, the beautiful ambience of the intro is still there. It’s rare to hear “blackgaze” or atmospheric black metal music that is so good at every aspect of the sound, especially in terms of how the tracks progress. By the end of <em>Roads to Judah</em>, Deafheaven have taken the listener on a journey. This is an album that builds on Alcest’s sound, adds some hardcore punk influences, and makes the heavy moments far heavier. It’s a near perfect blend of the “lighter” French blackgaze that know how to create beautiful music and build their songs, and the heavier atmospheric black metal that takes brutal music and mixes in some shoegaze and post-rock sounds. Deafheaven definitely borrow a lot from their influences, but the way they piece them together is simply incredible.</p> <p align="justify"> </p> <p align="justify"><img style="display: inline; float: left" title="epoch" alt="epoch" align="left" src="http://lh3.ggpht.com/-rHFDa_Z0UXI/Twh7KkC4CqI/AAAAAAAABMo/NWuIuS7K_24/epoch2.jpg?imgmax=800" width="200" height="200" /></p> <p align="justify">Fen <br />Epoch</p> <p align="justify">Fen’s <em>Epoch</em> is pretty standard atmospheric black metal, at least in terms of style. Quality-wise, <em>Epoch</em> is towards the higher end of the spectrum. It came out in February, and with the incredible year of atmospheric black metal that followed, it’s hard for not to get lost in the shuffle. But black metal fans who missed out on Fen’s sophomore release earlier in the year should go back and give this one a listen. For all the experimentation that came with the genre in 2011, it’s great to hear a band that sticks by their influences and makes a heavy atmospheric album that lets the black metal dominate the sound. And in terms of black metal, Fen plays their sound expertly. They have a raw, heavy sound with just enough post-rock parts to keep things from getting repetitive. Again, it may have been overshadowed by bigger and ultimately better albums, but Fen’s <em>Epoch</em> was the first great atmospheric black metal album of 2011, and it’s a very solid take on what would become a defining subgenre in extreme metal over the next ten months.</p> <p align="justify"> </p> <p align="justify"><img style="display: inline; float: left" title="echtra" alt="echtra" align="left" src="http://lh4.ggpht.com/-2U1z26h1DeQ/Twh7K1b0rJI/AAAAAAAABMw/fR_7a23oUY4/echtra2.jpg?imgmax=800" width="200" height="200" /></p> <p align="justify">Oakhelm <br />Echtra</p> <p align="justify">Oakhelm’s <em>Betwixt and Between</em> was a promising debut. Its follow up expands on that foundation, and is one of the best and most unique black metal albums in a year filled with many great releases in the genre. Oakhelm play a heavy and at times beautiful style of atmospheric black metal, and they mix in some prominent folk elements for good measure. While the combination was unique and exciting the first time around, here it’s become fully realized and truly spectacular. Most of the tracks are of epic length and switch between raw heavy riffs with blackened screams to some of the most gorgeous and well-implemented ambient music in any atmospheric black metal album. Most of the individual parts of <em>Echtra</em> aren’t extraordinary though. If you’re familiar with contemporary black metal, especially in the Northwest scene, you’ve heard the metal side of Oakhlem before. It’s the way that everything comes together that makes this album great and worthy of any metal fan’s time.</p> <p align="justify"> </p> <p align="justify"><img style="display: inline; float: left" title="kosmonument" alt="kosmonument" align="left" src="http://lh4.ggpht.com/-RWSVhCJcqsM/Twh7LEd_h7I/AAAAAAAABM4/va9oj0uqyWU/kosmonument2.jpg?imgmax=800" width="200" height="200" /></p> <p align="justify">Oranssi Pazuzu <br />Kosmonument</p> <p align="justify">Technically speaking Oranssi Pazuzu do play black metal. They just play a very strange style of it, and one that makes <em>Kosmonument</em> as likely to appeal to experimental listeners as it is to black metal fans. Across the course of the album there are heavy psychedelic influences, as well as elements of doom and sludge metal, making this a sort of weird experiment that maintains the raw nature of its black metal core. The growling is strong, the riffs are big, and there’s even some heavy bass that is rarely heard in black metal. While <em>Kosmonument</em> is not as focused as their debut album, Oranssi Pazuzu have made another unique work of art. Not all of it works, and as one might expect the psychedelic influences don’t blend perfectly. Still, they get it right the majority of the time, and while bands like Nachmystium and A Forest of Stars have received critical acclaim for their form of psychedelic black metal, Oranssi Pazuzu do it far better than either.</p> <p align="justify"> </p> <p align="justify"><img style="display: inline; float: left" title="v" alt="v" align="left" src="http://lh4.ggpht.com/-sQkYnWygkSY/Twh7LUE6rJI/AAAAAAAABNA/Lj0dQ7apQ-g/v4.jpg?imgmax=800" width="200" height="200" /></p> <p align="justify">Vreid <br />V</p> <p align="justify">Old school black metal with modern production, Vreid’s <em>V</em> is an album that embraces the evolution of the black metal genre without losing its roots. The music has a raw and gritty sound mixed in with serious melody and even a few atmospheric parts. This is an album that can be utterly brutal in spots, and then transition into softer segments. There will certainly be black metal purists who won’t be able to get over the melodic parts and the decent production values, especially considering Vreid has connections to the more traditional black metal band Windir, but <em>V</em> is an easy album to recommend to anyone who likes the classic blackened sound and doesn’t mind a more modern take on it.</p> <p align="justify"> </p> <p align="justify"><img style="display: inline; float: left" title="celestial lineage" alt="celestial lineage" align="left" src="http://lh5.ggpht.com/-BlEhd6r-fAQ/Twh7LfxP1bI/AAAAAAAABNI/gLGV7y9_WU0/celestial-lineage3.jpg?imgmax=800" width="200" height="200" /></p> <p align="justify">Wolves in the Throne Room <br />Celestial Lineage</p> <p align="justify">The fourth album from Wolves in the Throne Room isn’t all that different from the first three. The band had a phenomenal debut with <em>Diadem of 12 Stars</em>, polished their sound with <em>Two Hunters</em>, and are now on cruise control. However, more Wolves in the Throne Room is hardly a bad thing. Even with the rapidly increasing number of atmospheric black metal bands out there, no one plays it quite like Wolves in the Throne Room. They continue to play black metal with folk and shoegaze influences, and unlike a lot of atmospheric black metal albums, the influences are almost completely interconnected. Even the softer moments still have a hint of black metal in them, and <em>Celestial Lineage</em> is better for it. The thing is, even with the long tracks, Wolves remains one of the most accessible extreme metal bands out there, and it’s hard to imagine any metalhead not finding something to like about their music. It’s heavy, unique, and each song is very well constructed. So while <em>Celestial Lineage</em> is nothing new for Wolves in the Throne Room, their sound is far from tired, and both established fans and metalheads yet to give them a listen will find an enjoyable album here.</p> <p align="justify"> </p> <p align="justify"><img style="display: inline; float: left" title="torn beyond reason" alt="torn beyond reason" align="left" src="http://lh4.ggpht.com/-CX6VmNhh9fE/Twh7LuTN6bI/AAAAAAAABNQ/dbAEjHdXkCk/torn-beyond-reason2.jpg?imgmax=800" width="200" height="200" /></p> <p align="justify">Woods of Desolation <br />Torn Beyond Reason</p> <p align="justify"><em>Torn Beyond Reason</em> comes just shy of being the perfect atmospheric black metal album. This dark masterpiece is filled with punishing riffs, desperate screams, production that makes the sound more raw without taking away from the music, insane melody at times, and some of the greatest atmosphere black metal has ever seen. Its only issue is variety. After the first couple songs the rest can get predictable, but when the sound is this good that may be for the best. This is atmospheric metal that perfects the balance between heavy and beautiful, and even with its flaws it’s one of the 2011’s most essential metal albums.</p> Bryce Murphyhttp://www.blogger.com/profile/04012670966156122386noreply@blogger.com1tag:blogger.com,1999:blog-4702726699213504464.post-50596748895278360692012-01-04T03:12:00.001-08:002012-02-01T23:42:58.670-08:002011 HBG- Death Metal<strong>Sections: <br /></strong>-<a href="http://soundwriter.blogspot.com/2011/12/2011-hbg-introduction.html">Introduction</a> <br />-<a href="http://soundwriter.blogspot.com/2011/12/2011-hbg-rock.html">Rock</a> <br />-<a href="http://soundwriter.blogspot.com/2011/12/2011-hbg-hip-hop.html">Hip Hop</a> <br />-<a href="http://soundwriter.blogspot.com/2011/12/2011-hbg-melodeaththrashsludge-metal.html">Melodeath/Thrash/Sludge Metal</a> <br />-<a href="http://soundwriter.blogspot.com/2011/12/2011-hbg-electronic.html">Electronic</a> <br />-<a href="http://soundwriter.blogspot.com/2011/12/2011-hbg-powersymphonicfolk-metal.html">Power/Symphonic/Folk Metal</a> <br />-<a href="http://soundwriter.blogspot.com/2011/12/2011-hbg-alternativeindie-rock.html">Alternative/Indie Rock</a> <br />-<a href="http://soundwriter.blogspot.com/2011/12/2011-hbg-progressive.html">Progressive</a> <br />-<a href="http://soundwriter.blogspot.com/2011/12/2011-hbg-hardcore.html">Hardcore</a> <br />-<a href="http://soundwriter.blogspot.com/2012/01/2011-hbg-death-metal.html">Death Metal</a> <br />-<a href="http://soundwriter.blogspot.com/2012/01/2011-hbg-black-metal.html">Black Metal</a> <br />-<a href="http://soundwriter.blogspot.com/2012/01/2011-hbg-ambientpost-rock.html">Ambient/Post-Rock</a> <br />-<a href="http://soundwriter.blogspot.com/2012/02/2011-hbg-gothicindustrialdarkwave.html">Gothic/Industrial/Darkwave</a> <br />-Folk- Coming Soon <br />-Doom Metal- Coming Soon <br />-Experimental- Coming Soon <p align="justify">  </p> <p align="justify">Death metal had such a huge year in 2011 that for the first time ever the subgenre has its own category separate from other forms of extreme metal. It goes without saying that death metal isn’t for everyone, but anyone who likes their music as brutal as possible had a lot to love about the past the year. </p> <p align="justify"> </p> <p align="justify"><img style="display: inline; float: left" title="asylum cave" alt="asylum cave" align="left" src="http://lh6.ggpht.com/-C60pZ_rieD8/TwQ0LC6lCyI/AAAAAAAABK4/5zrJSMfY5a4/asylum-cave2.jpg?imgmax=800" width="200" height="200" /></p> <p align="justify">Benighted <br />Asylum Cave</p> <p align="justify"><em>Asylum Cave</em> opens with what may be the greatest intro to any metal album ever. From the first 30 seconds, it becomes clear that this French band has a great sense of humor and knows how to make some insanely heavy music. Benighted have all but perfected their form of deathgrind, and it’s amazing to listen to incredibly brutal extreme metal that is this fast and heavy without being sloppy. <em>Asylum Cave</em> does start to lose steam near the end, but the first half is some of the best and heaviest music death metal has to offer, and even at its worst it’s still heavy enough to be entertaining. This is hardly a work of high art, but it’s the rare album that can satisfy any metalhead’s lust for brutality.</p> <p align="justify"> </p> <p align="justify"><img style="display: inline; float: left" title="agony" alt="agony" align="left" src="http://lh4.ggpht.com/-rekWejfIDNw/TwQ0LU-qQRI/AAAAAAAABK8/X1Iv6XZg-Zg/agony2.jpg?imgmax=800" width="200" height="200" />Fleshgod Apocalypse <br />Agony</p> <p align="justify">Fleshgod Apocalypse released a promising debut with <em>Oracles</em> in 2009, an album that combined some solid brutal death metal with light symphonic elements. On <em>Agony</em>, Fleshgod Apocalypse have upped the symphonic parts while still keeping the brutality intact. It’s a very good death metal album at its core, and the more prominent symphonic elements make it more chaotic and even heavier. The thing is, symphonic music is a natural fit with death metal, as the sound is heavily influenced by classical music to begin with. Adding keys, operatic vocal sections, and string instrumentals make sense and fit better than one might expect. The way they’re used is not as powerful as on Septic Flesh’s <em>The Great Mass</em>, a symphonic death metal album released earlier in 2011, but <em>Agony</em> is still great on its own merits and definitely worthy of any death metal fan’s time.</p> <p align="justify"> </p> <p align="justify"><img style="display: inline; float: left" title="the sum of all fossils" alt="the sum of all fossils" align="left" src="http://lh3.ggpht.com/--tH-DtIaKTg/TwQ0LkiYN9I/AAAAAAAABLI/qrrxvpT7i0M/the-sum-of-all-fossils2.jpg?imgmax=800" width="200" height="200" /></p> <p align="justify">Flourishing <br />The Sum of All Fossils</p> <p align="justify">Flourishing’s debut album is one the more varied albums in the death metal genre. The band plays with tempo exceptionally well, creating an album that works when fast or slow. There are times when <em>The Sum of All Fossils</em> sounds like sludge metal with blackened growling, but just as often they are play fast and technical death metal with typical vocals for the genre. What remains consistent though is the brutality of the music, which is aided by some strong atmosphere and spot-on lo-fi production. This is a very solid album, and one that can recommended to any fan of extreme metal. If their debut is any indication, Flourishing are definitely a band to watch for in the future.</p> <p align="justify"> </p> <p align="justify"><img style="display: inline; float: left" title="mahayuga" alt="mahayuga" align="left" src="http://lh4.ggpht.com/-fcUf5WwpA9E/TwQ0L6GkR4I/AAAAAAAABLQ/sgMB_6K_BEw/mahayuga3.jpg?imgmax=800" width="200" height="200" /></p> <p align="justify">Kartikeya <br />Mahayuga</p> <p align="justify">Kartikeya’s <em>Mahuyuga</em> opens with a short intro that goes from ambient music to death metal to Middle Eastern folk. When the actual songs start, it seems at first like the intro was a tease. The death metal is high quality, certainly, and sounds like a cross between Behemoth and Strapping Young Lad, but 3 minutes into the second track the real genius of <em>Mahayuga</em> starts to show itself. That solid death metal song turns into Mongolian folk with chanted vocals, and the album just gets crazier from there. Kartikeya have very strong Middle Eastern influences, and they put it to great use. There are plenty of pure death metal moments, all of which are great, but much of the music has their oriental influences fused directly into it. The songs here are heavy, unique, and even beautiful at times, and it makes for a very interesting listen. <em>Mahayuga</em> ends with an epic four-part closer that ranks among some of the weirdest and overall best music I’ve heard this year. If you like death metal, oriental metal, or avant-garde music in general, Kartikeya have crafted an album that you should absolutely check out.</p> <p align="justify"> </p> <p align="justify"><img style="display: inline; float: left" title="parasignosis" alt="parasignosis" align="left" src="http://lh3.ggpht.com/-_zbA0r38cWk/TwQ0L5VXwJI/AAAAAAAABLY/K0h1PdxA3-8/parasignosis2.jpg?imgmax=800" width="200" height="200" /></p> <p align="justify">Mitochondrion <br />Parasignosis</p> <p align="justify">Mitochondrion’s <em>Parasignosis</em> has its flaws, but when I look back on the most memorable albums of 2011, it’s hard to ignore this one. The band’s raw blend of atmospheric death metal is sometimes too raw for its own good. It can be like listening to an early black metal album, only with death growls and more technical instrumentation. <em>Parasignosis</em> is completely overwhelming in parts, as the technicality of the instrumentals and the raw production and atmosphere are often at odds. Still, there are parts of the album that make up the rough spots. This is just a ridiculously heavy album, and even while it may take a few listens to absorb all of the different parts, what’s here is unlike anything else I’ve heard in the death metal genre. <em>Parasignosis</em> may be the heaviest album released in 2011, and with the ridiculous amount of great extreme metal albums from the year, that’s no small accomplishment. With its problems, it’s somewhat hard to fully recommend <em>Parasignosis</em>, but it also needs to be done. The highs are just too good and the album is just too heavy for it to be ignored.</p> <p align="justify"> </p> <p align="justify"><img style="display: inline; float: left" title="omnivium" alt="omnivium" align="left" src="http://lh4.ggpht.com/-zlSSqyzyJpg/TwQ0MBUbDQI/AAAAAAAABLg/WJkvKXpJD3A/omnivium3.jpg?imgmax=800" width="200" height="200" />Obscura <br />Omnivium</p> <p align="justify">Technicality is one aspect of death metal, but it’s far from the only thing that makes the genre appealing. Most technical death metal albums forgo the brutality, and more importantly, the passion that comes from it, in favor of technical wankery. Obscura’s <em>Omnivium</em> is an exception to that rule. Here is some technical death metal with awe-inspiring musicianship, but a great deal of passion to go along with it. Everything here is heavy, and the way that complicated instrumentation works with the varied songwriting is nothing short of brilliant. Obscura take their cues from jazz and progressive metal, and in a way <em>Omnivium</em> feels like a modern update to early Atheist and Cynic albums. It needs a little more variety before it truly belongs in the same category as those, but it’s the closest tech death has gotten in some time. It’s rare and oh so satisfying to hear a death metal album be technically complex while still having great songwriting around it. Parts of it are even melodic, and certainly accessible compared to most other death metal albums. <em>Omnivium</em> is an exceptional release, and absolutely essential for metal fans.</p> <p align="justify"> </p> <p align="justify"><img style="display: inline; float: left" title="owl" alt="owl" align="left" src="http://lh4.ggpht.com/-tHtHwaZ3R0k/TwQ0MWny6wI/AAAAAAAABLo/bDF6IzUmFG4/owl2.jpg?imgmax=800" width="200" height="200" /></p> <p align="justify">Owl <br />Owl</p> <p align="justify">A stunning original debut album, Owl’s self-titled release is one of the best metal albums of 2011. Owl play atmospheric death metal, similar to the popular “blackgaze” or atmospheric black metal that has become popular of late. However, the difference between the black and death metal is key, and a very difficult one to pull off. This is an incredibly dark and raw album, and it’s sometimes hard to believe that the death metal riffs and growls work so well in such a dreary atmospheric setting. The music is technical, epic, and depressing all at once, and while the last track goes on far too long (30 minutes), the first four are near-masterpieces that are unlike anything else in contemporary metal.</p> <p align="justify"> </p> <p align="justify"><img style="display: inline; float: left" title="the great mass" alt="the great mass" align="left" src="http://lh5.ggpht.com/-mpJSWgF8O9Q/TwQ0Mk6KvoI/AAAAAAAABLw/fuimjD5hscM/the-great-mass2.jpg?imgmax=800" width="200" height="200" /></p> <p align="justify">Septic Flesh <br />The Great Mass</p> <p align="justify">Heavy, brutal, and unapologetically crazy, Septic Flesh’s <em>The Great Mass</em> is one hell of an album. This symphonic death metal masterpiece contains some of the heaviest metal imaginable, and blends it with strong progressive and symphonic elements. There are brutal death vocals and instrumentals, as well as violins, flutes, and some help from the Filmharmonic Orchestra and Choir of Prague. It should be overwhelming, but the way that Septic Flesh build their music is chaotic yet never random. This is the soundtrack to going mad, and the music remains unpredictable throughout. What more is there to say about <em>The Great Mass</em>? This is an incredible tour de force of death metal, and it’s a masterpiece that absolutely must be listened to.</p> <p align="justify"> </p> <p align="justify"><img style="display: inline; float: left" title="transformation" alt="transformation" align="left" src="http://lh5.ggpht.com/-bCXrkgrjisE/TwQ0MyHlrgI/AAAAAAAABL4/4Su8lWTqX1A/transformation2.jpg?imgmax=800" width="200" height="200" /></p> <p align="justify">Sonne Adam <br />Transformation</p> <p align="justify">Sonne Adam is a new band with an old sound. <em>Transformation</em> is an impressive traditional death metal album, complete with raw vocals, lo-fi production, and dark and heavy instrumentation. It’s sort of a throwback to early 90’s death metal, but it manages to stand out. Even two decades after this style of death metal surfaced, it’s impressive to hear a death metal band be so heavy, so raw, and so enjoyable. The riffs are slower than in modern death metal, and there’s certainly a case to be made that “slow and heavy” is the way to go. <em>Transformation</em> is certainly for fans of old-school death metal, but with the possible exception of Bloodbath there hasn’t been a band in the last decade who’s re-created this sound in such a powerful way. It’s raw, it’s heavy, and it’s great.</p> <p align="justify"> </p> <p align="justify"><img style="display: inline; float: left" title="the destroyers of all" alt="the destroyers of all" align="left" src="http://lh6.ggpht.com/-WbEWL6sJiS0/TwQ0NAUt90I/AAAAAAAABMA/XEu6D_4MDss/the-destroyers-of-all2.jpg?imgmax=800" width="200" height="200" /></p> <p align="justify">Ulcerate <br />The Destroyers of All</p> <p align="justify">Listening to Ulcerate’s <em>The Destroyers of All</em> can be an overwhelming experience. Much like Meshuggah, Gojira, and other all-purpose extreme metal bands, Ulcerate throws just every form of heavy metal into their sound and somehow makes it work. Through the course of each 6+ minute track, Ulcerate plays incredibly technical and brutal metal with elements of death, black, sludge, and thrash mixed in. It’s an all out heavy metal assault, but it’s also the type of music that just begs to be headbanged to. Few albums pull off metal as heavy as this, and for fans of heavy metal <em>The Destroyers of All</em> is a treat.</p> Bryce Murphyhttp://www.blogger.com/profile/04012670966156122386noreply@blogger.com0tag:blogger.com,1999:blog-4702726699213504464.post-23798929791828592022011-12-21T23:20:00.001-08:002012-02-01T23:43:12.607-08:002011 HBG- Hardcore<strong>Sections: <br /></strong>-<a href="http://soundwriter.blogspot.com/2011/12/2011-hbg-introduction.html">Introduction</a> <br />-<a href="http://soundwriter.blogspot.com/2011/12/2011-hbg-rock.html">Rock</a> <br />-<a href="http://soundwriter.blogspot.com/2011/12/2011-hbg-hip-hop.html">Hip Hop</a> <br />-<a href="http://soundwriter.blogspot.com/2011/12/2011-hbg-melodeaththrashsludge-metal.html">Melodeath/Thrash/Sludge Metal</a> <br />-<a href="http://soundwriter.blogspot.com/2011/12/2011-hbg-electronic.html">Electronic</a> <br />-<a href="http://soundwriter.blogspot.com/2011/12/2011-hbg-powersymphonicfolk-metal.html">Power/Symphonic/Folk Metal</a> <br />-<a href="http://soundwriter.blogspot.com/2011/12/2011-hbg-alternativeindie-rock.html">Alternative/Indie Rock</a> <br />-<a href="http://soundwriter.blogspot.com/2011/12/2011-hbg-progressive.html">Progressive</a> <br />-<a href="http://soundwriter.blogspot.com/2011/12/2011-hbg-hardcore.html">Hardcore</a> <br />-<a href="http://soundwriter.blogspot.com/2012/01/2011-hbg-death-metal.html">Death Metal</a> <br />-<a href="http://soundwriter.blogspot.com/2012/01/2011-hbg-black-metal.html">Black Metal</a> <br />-<a href="http://soundwriter.blogspot.com/2012/01/2011-hbg-ambientpost-rock.html">Ambient/Post-Rock</a> <br />-<a href="http://soundwriter.blogspot.com/2012/02/2011-hbg-gothicindustrialdarkwave.html">Gothic/Industrial/Darkwave</a> <br />-Folk- Coming Soon <br />-Doom Metal- Coming Soon <br />-Experimental- Coming Soon <p align="justify"> </p> <p align="justify">This section is comprised of the best hardcore punk, post-hardcore, metalcore, deathcore, and screamo albums of 2011. For those who aren’t familiar with those terms, just know the following 10 albums have lots and lots of screaming.</p> <p align="justify"> </p> <p align="justify"><img style="display: inline; float: left" title="ferne tage" alt="ferne tage" align="left" src="http://lh5.ggpht.com/-A0Uz7faSJSo/TvLaOVixzYI/AAAAAAAABJo/s1E2gxnw7Xg/ferne-tage6%25255B1%25255D.jpg?imgmax=800" width="200" height="200" />Ära Krâ <br />Ferne Tage</p> <p align="justify">Powerful, beautiful, and emotionally devastating, Ära Krâ’s debut is one of the year’s best albums in any genre of music. This is an incredible first album, and it’s hard to imagine what Ära Krâ may be capable of in the future. Stylistically, the music is very unique with elements of hardcore punk, atmospheric black metal, and post-rock. All of it comes together perfectly and with a great deal of emotion. There are certain albums that just seep passion, and <em>Ferne Tage</em> is one of them. The content is dark, yet still beautiful, and it manages to create a distinct and absorbing atmosphere. Most of the vocals are screamed, and the instrumentation can build from ambience to extreme metal, but does so at a leisurely pace. By its end it’s hard not be exhausted listening to <em>Ferne Tage</em>, and that’s a good thing. It’s an emotionally draining album, and as a result it’s definitely not for everyone. However, anyone who likes to sit and truly listen to their heavy music will find a one of a kind experience, and again, one of the absolute best albums of 2011.</p> <p align="justify"> </p> <p align="justify"><img style="display: inline; float: left" title="the discovery" alt="the discovery" align="left" src="http://lh3.ggpht.com/-WaG8wLX1MFY/TvLaOr-uTQI/AAAAAAAABJw/hhUF1AFrCHg/the-discovery7%25255B1%25255D.jpg?imgmax=800" width="200" height="200" /></p> <p align="justify">Born of Osiris <br />The Discovery</p> <p align="justify">I’ve heard solid deathcore before, even a few great EP’s. However, Born of Osiris’ <em>The Discovery</em> is the single best pure deathcore album I’ve ever listened to. This is proof that mixing death metal with hardcore can work, and screams and breakdowns aren’t completely incompatible with death metal. The vocals vary between high and low screams and death growls, although not all are well done. It’s good that none of the specific styles stay for too long, and the constant changing only adds to the intensity. <em>The Discovery</em> is likely an album that will be enjoyed more by hardcore/metalcore fans than death metal purists, and that’s fine. This is really a metalcore album with legitimate death metal influences and some well implemented progressive and atmospheric sounds. Born of Osiris have crafted a chaotic mess of an album, and I mean that in the best way possible. If you’re an open-minded death metal fan I would recommend giving this one a chance, but more than anything it’s an essential release for fans of heavier hardcore music.</p> <p align="justify"> </p> <p align="justify"><img style="display: inline; float: left" title="empty days and sleepless nights" alt="empty days and sleepless nights" align="left" src="http://lh6.ggpht.com/-DygOkEy1bbU/TvLaO3E8vAI/AAAAAAAABJ4/pooehS6IFy0/empty-days-and-sleepless-nights2%25255B1%25255D.jpg?imgmax=800" width="200" height="200" /></p> <p align="justify">Defeater <br />Empty Days & Sleepless Nights</p> <p align="justify"><em>Empty Days & Sleepless Nights</em> shows two very different sides of Defeater. Some of the songs are heavy hardcore tracks complete with heavy riffs and punk screaming. Those are solid for the most part, and Defeater do a good job of building the songs and giving them some variety. The other half of <em>Empty Days & Sleepless Nights</em> is much softer. There are four acoustic ballads, all of which are surprisingly good. Even without the screaming, Defeater still put a punk edge into the softer tracks. The lyrical themes are similar throughout the album, namely a loose story about a family dealing with their life post-war. The acoustic tracks all come at the end, after 35 minutes of hardcore punk. This makes the theme of the record all the more powerful, hearing anger followed by grief. <em>Empty Days & Sleepless Nights</em> is a complete album, and a great sophomore release from a band quickly gaining the attention of punk fans everywhere.</p> <p align="justify"> </p> <p align="justify"><img style="display: inline; float: left" title="duality" alt="duality" align="left" src="http://lh5.ggpht.com/-7NJI2TvCMbk/TvLaPM5-ZVI/AAAAAAAABJ8/TM_ceqanCRA/duality2%25255B1%25255D.jpg?imgmax=800" width="200" height="200" /></p> <p align="justify">Jesus & Paka <br />Duality</p> <p align="justify">The first time I listened to <em>Duality</em>, the debut album from Jesus & Paka, it took only about a minute for me to realize that this duo has come up with one of the most unique sounds imaginable. With that being said, it took quite a bit longer for me to realize that this album was more than just a unique experiment. Jesus & Paka play acoustic screamo. Yes, you read that right. This album has powerful punk screams being delivered over borderline-flamenco acoustic guitar parts. It’s hard to believe that this style works, but it does, and quite brilliantly at that. This whole thing would fall apart if the vocals were lackluster, but thankfully the screams are forceful, and they are only intensified by the acoustic instrumentals. The guitars are fast enough to work with the music, but they put a powerful emphasis on the vocals that makes <em>Duality</em> an incredibly emotional record. This is one of the most unique albums of 2011, and it’s also one of the best.</p> <p align="justify"> </p> <p align="justify"><img style="display: inline; float: left" title="wildlife" alt="wildlife" align="left" src="http://lh5.ggpht.com/-iYDW3k7GhaE/TvLaPfXR0oI/AAAAAAAABKI/O2SLfoxi73Q/wildlife2%25255B1%25255D.jpg?imgmax=800" width="200" height="200" /></p> <p align="justify">La Dispute <br />Wildlife</p> <p align="justify"><em>Wildlife</em> is not an album that be critiqued at a technical level, and that’s what makes punk music so great. This is an album of pure emotion. Every word that comes from the vocalist’s mouth is said, screamed, and sung with passion, and the same can be said for every note of the guitar. <em>Wildlife</em> is just intense and beautiful in the most heartbreaking of ways, and it’s the kind of album that’s exactly what emo could be if you removed all of the stigma and commercialism. That is to say, this is a punk album with real emotion, and it makes for a powerful and at times difficult listen.</p> <p align="justify"> </p> <p align="justify"><img style="display: inline; float: left" title="scurrilous" alt="scurrilous" align="left" src="http://lh6.ggpht.com/-x_AqcX637sc/TvLaPlSNdQI/AAAAAAAABKQ/ASjK0mfYLaY/scurrilous2%25255B1%25255D.jpg?imgmax=800" width="200" height="200" /></p> <p align="justify">Protest the Hero <br />Scurrilous</p> <p align="justify">Protest the Hero is a band that makes incredibly complicated music sound simple. Parts of <em>Scurrilous</em> are nothing short of ridiculous and borderline overwhelming. You’ll hear the vocalist screaming over guitar shredding, chaotic drum beats, and melodic backing vocals. Other times high singing will occur over chugging hardcore riffs and breakdowns, and instruments will sometimes transition to new parts seemingly without regard for what the other parts are playing. What sounds like a guitar solo will start in the middle of a verse, and the instruments will slow down in the middle of another. It shouldn’t work, but somehow Protest the Hero manage to pull it off, and the moments where everything does come together bring a much needed rest to chaos. All things considered, <em>Scurrilous</em> is really pretty accessible. It’s a testament to the band’s songwriting that such crazy compositions can work, especially at a level where the music can appeal similarly to fans of hardcore and progressive metal.</p> <p align="justify"> </p> <p align="justify"><img style="display: inline; float: left" title="funerary" alt="funerary" align="left" src="http://lh5.ggpht.com/-1EgXRsch57k/TvLaP8GXCSI/AAAAAAAABKY/YSsRbiNCoj0/funerary4%25255B1%25255D.jpg?imgmax=800" width="200" height="200" /></p> <p align="justify">Pulling Teeth <br />Funerary</p> <p align="justify">Pulling Teeth’s <em>Funerary</em> feels like two different hardcore albums packaged into one. Both are great, but in different ways. The first half is a loud, fast, and chaotic collection of straightforward hardcore punk songs. The latter half is slower and basically sludge metal with punk screams. Again, both work, and they show a tremendous amount of variety. The instrumentation ranges from slow and heavy sludge to fast and sloppy punk to technical metal and even melodic in the solos. It’s an interesting mix, especially in the latter half, and it makes for an incredibly strange and rewarding listen. The vocals won’t be everyone’s cup of tea, even amongst hardcore fans, and the screaming isn’t as powerful as it could have been. The sloppy screams work well with some parts of the music, but occasionally it stands out too much. For the most part though, <em>Funerary</em> is a unique hardcore album that works, and it’s a great album for punk fans and metalheads alike.</p> <p align="justify"> </p> <p align="justify"><img style="display: inline; float: left" title="sulla linea d'orizzonte tra questa mia vita e quella di tutti" alt="sulla linea d'orizzonte tra questa mia vita e quella di tutti" align="left" src="http://lh3.ggpht.com/-PBiiS9dFkfU/TvLaPyB1RqI/AAAAAAAABKg/1UZjIctXw9o/sulla-linea-dorizzonte-tra-questa-mi%25255B1%25255D.jpg?imgmax=800" width="200" height="200" /></p> <p align="justify">Raein <br />Sulla linea d'orizzonte tra questa mia vita e quella di tutti</p> <p align="justify">Makers of some of the most creative and emotionally-charged screamo out there, Raein have returned with an album funded by fan donations. In a lot of ways, this is a return to Raein’s roots, as the music is simpler and closer to their influences than any of their albums before it. The vocals are a mostly powerful screaming, with a few spoken sections, and the instrumentals are similar to influential modern screamo bands like Saetia and pageninetynine. There’s a lot of variation in the instrumentals, both in style and mood, and the music stays interesting throughout as a result. Unlike the aforementioned bands, Raein refrain from moments of pure chaos. The music is certainly emotional, angry, and devastating, but it all stays pretty steady and even accessible as far as screamo albums go. <em>Sulla linea d'orizzonte tra questa mia vita e quella di tutti</em> isn’t anything new for hardcore punk, but it’s a very solid album nonetheless. It’s certainly recommendable for those with interest in screamo, but even newcomers to the genre might want to give this one a try. It’s available as a free download on Raein’s website, and it’s definitely worth any music fan’s time.</p> <p align="justify"> </p> <p align="justify"><img style="display: inline; float: left" title="after dark" alt="after dark" align="left" src="http://lh3.ggpht.com/-0_mfSbLRHhQ/TvLaQLOI-nI/AAAAAAAABKo/w3BfGqMv_ro/after-dark2%25255B1%25255D.jpg?imgmax=800" width="200" height="200" /></p> <p align="justify">Todos Caerán <br />After Dark</p> <p align="justify">While many hardcore bands keep their songs short and to the point, Todos Caerán take the opposite approach. <em>After Dark</em> is cinematic album with long tracks, instrumentals that sound like post-rock at times, and spoken storytelling that eventually turns into screams. It’s definitely for a different type of listener than those who prefer short and intense music, but those who are more patient will find an ever changing album that is successful at building the quiet into the loud. It’s no surprise to learn that Funeral Diner are a primary influence, as that style of hardcore screaming over part-post-rock part-punk instrumentals is in full effect here and done very well. <em>After Dark</em> is a very impressive album, especially for it being the band’s first full-length release. If this is any indication, Todos Caerán have a bright future ahead of them.</p> <p align="justify"> </p> <p align="justify"><img style="display: inline; float: left" title="darker handcraft" alt="darker handcraft" align="left" src="http://lh4.ggpht.com/-ok5P-2r41Cg/TvLaQWvQt2I/AAAAAAAABKw/MwRX_vmi8Vs/darker-handcraft2%25255B1%25255D.jpg?imgmax=800" width="200" height="200" /></p> <p align="justify">Trap Them <br />Darker Handcraft</p> <p align="justify">Fast, loud, and heavy, Trap Them’s <em>Darker Handcraft</em> is everything a crust punk album should be. That’s not to say that <em>Darker Handcraft</em> is just a crust punk album though. There are straight up rock ‘n roll riffs, used in a way similar to that of Kvelertak last year. Many of the songs are short, and are just brutal segments without intros or outros. That structure is common in punk music, but hearing something as heavy and brutal as the music here makes it all the more powerful. The longer (3+ minutes) tracks are also straight to the point, although the “death ‘n roll” parts are more prominent on those. Trap Them are a crust band that do things a little different and a lot better than most of their contemporaries. If you buy one crust punk album in 2011, you can’t go wrong with <em>Darker Handcraft</em>.</p> Bryce Murphyhttp://www.blogger.com/profile/04012670966156122386noreply@blogger.com0tag:blogger.com,1999:blog-4702726699213504464.post-17631012755260073902011-12-20T14:07:00.001-08:002012-02-01T23:43:49.910-08:002011 HBG- Progressive<strong>Sections: <br /></strong>-<a href="http://soundwriter.blogspot.com/2011/12/2011-hbg-introduction.html">Introduction</a> <br />-<a href="http://soundwriter.blogspot.com/2011/12/2011-hbg-rock.html">Rock</a> <br />-<a href="http://soundwriter.blogspot.com/2011/12/2011-hbg-hip-hop.html">Hip Hop</a> <br />-<a href="http://soundwriter.blogspot.com/2011/12/2011-hbg-melodeaththrashsludge-metal.html">Melodeath/Thrash/Sludge Metal</a> <br />-<a href="http://soundwriter.blogspot.com/2011/12/2011-hbg-electronic.html">Electronic</a> <br />-<a href="http://soundwriter.blogspot.com/2011/12/2011-hbg-powersymphonicfolk-metal.html">Power/Symphonic/Folk Metal</a> <br />-<a href="http://soundwriter.blogspot.com/2011/12/2011-hbg-alternativeindie-rock.html">Alternative/Indie Rock</a> <br />-<a href="http://soundwriter.blogspot.com/2011/12/2011-hbg-progressive.html">Progressive</a> <br />-<a href="http://soundwriter.blogspot.com/2011/12/2011-hbg-hardcore.html">Hardcore</a> <br />-<a href="http://soundwriter.blogspot.com/2012/01/2011-hbg-death-metal.html">Death Metal</a> <br />-<a href="http://soundwriter.blogspot.com/2012/01/2011-hbg-black-metal.html">Black Metal</a> <br />-<a href="http://soundwriter.blogspot.com/2012/01/2011-hbg-ambientpost-rock.html">Ambient/Post-Rock</a> <br />-<a href="http://soundwriter.blogspot.com/2012/02/2011-hbg-gothicindustrialdarkwave.html">Gothic/Industrial/Darkwave</a> <br />-Folk- Coming Soon <br />-Doom Metal- Coming Soon <br />-Experimental- Coming Soon <p>  </p> <p align="justify">Despite a few disappointing releases from established bands, progressive rock and metal had huge years in 2011. So huge, in fact, that this turned out to be the most contested category in this year’s guide. A whopping 7 out of 10 albums received a score of at least 3.5 out of 4. Needless to say, prog fans have a lot of great albums to choose from here.</p> <p align="justify"> </p> <p align="justify"><img style="display: inline; float: left" title="dwellings" alt="dwellings" align="left" src="http://lh5.ggpht.com/-YPkTVt2Ymrw/TvEHGvc5OeI/AAAAAAAABIY/XTKV99MmtUI/dwellings2.jpg?imgmax=800" width="200" height="200" /></p> <p align="justify">Cormorant <br />Dwellings</p> <p align="justify">Cormorant’s second album is bigger and better than its predecessor in a number of ways. Having discussed music with Arthur von Nagel, there’s no doubt in my mind that he could be a great critic. His taste is deep and varied, and he draws influences from many great underground rock and metal bands. In <em>Dwellings</em> you’ll hear bits of black metal, melodeath, and lots of progressive metal, but there are subtle hints of post-rock, avant-garde, gothic rock, industrial, and many, many other types of music. There’s simply a lot to Cormorant, and they blend everything together seamlessly. Again, part of what made <em>Metazoa</em> great was the shock of hearing so many subtle influences incorporated into a large and heavy sound. While that’s still there on <em>Dwellings</em>, some of the excitement is gone. Cormorant’s sound is far more polished this time around, and while for the most the part that’s a good thing, it does lose some of its raw power in the process. That balances is tricky when black metal is a major part of the sound, and those are really pretty minor issues. <em>Dwellings</em> is another outstanding release from Cormorant, and it’s as distinct as it is varied.</p> <p align="justify"> </p> <p align="justify"><img style="display: inline; float: left" title="deconstruction" alt="deconstruction" align="left" src="http://lh5.ggpht.com/-eJLhQU6zpkM/TvEHG6FchpI/AAAAAAAABIg/BxrF2XZjA9U/deconstruction4.jpg?imgmax=800" width="200" height="200" /></p> <p align="justify">Devin Townsend Project <br />Deconstruction</p> <p align="justify">Devin Townsend’s third album in his “project” series will be the most familiar of the bunch to fans of his previous work. Stylistically, <em>Deconstruction</em> is reminiscent of <em>Ziltoid the Omniscient</em>, complete with a crazy story and Devin’s unique sense of humor. There’s an all-star guest list here as well, and while all do an exceptional job, <em>Deconstruction</em> never really settles into a groove because of it. The story doesn’t work all that well, which is disappointing considering how well Devin has done comedic concept albums in the past. Ultimately though, both of those are minor flaws. The real meat here is the music, and that’s where <em>Deconstruction</em> shines. Devin is still a ridiculously talented musician, mixing some of the best growling and clean singing found in heavy metal music. The songs are mostly long and epic, and combine many of Devin’s heavier influences. No, it’s not quite Strapping Young Lad, but it is the heaviest record Townsend has been a part of it in some time. This is “Heavy Devy” and a more progressive Devin rolled into one, and on that level it works perfectly.</p> <p align="justify">NOTE: Devin Townsend Project also released a more mellow album <em>Ghost</em> in 2011. While it is not quite as good, it is absolutely worth listening to, and is offered as a package with <em>Deconstruction</em>.</p> <p align="justify"> </p> <p align="justify"><img style="display: inline; float: left" title="elinoire" alt="elinoire" align="left" src="http://lh5.ggpht.com/-42lyc10wrG8/TvEHG5BMWJI/AAAAAAAABIo/WwAEgoT4AL4/elinoire2.jpg?imgmax=800" width="200" height="200" /></p> <p align="justify">Flaming Row <br />Elinoire</p> <p align="justify">Flaming Row’s first album borrows heavily from established metal opera projects like Ayreon and Avantasia. Much like what those bands do, Flaming Row has a great amount of guest singers who play characters in a story told over progressive metal music. The vocalists are mostly excellent, and there’s a good mix between male and female singing and even some growling. The story is the real strength of <em>Elinoire</em>, however, as this tragic tale is the best I’ve heard from an album like this since Ayreon’s <em>The Human Equation</em>. The storytelling is captivating from the start, and Flaming Row quickly prove to be much darker than their counterparts. <em>Elinoire</em> is familiar in a lot of ways, but it’s also a very polished and well constructed debut album. Again, it’s not quite up to the level of Ayreon’s best, but it’s every bit as good as Avantasia and the lesser Ayreon albums.</p> <p align="justify"> </p> <p align="justify"><img style="display: inline; float: left" title="visions" alt="visions" align="left" src="http://lh3.ggpht.com/-8kcsdrg0SBI/TvEHHELdo-I/AAAAAAAABIw/Lm9o6DCVCyk/visions4.jpg?imgmax=800" width="200" height="200" /></p> <p align="justify">Haken <br />Visions</p> <p align="justify">After a great album in 2010, Haken have returned with an even better release a year later. <em>Visions</em> is an absolutely breathtaking collection of melodic, heavy, and epic progressive music, and it cements Haken’s place as one of the premier prog bands in music today. Haken draw influences from both classic and contemporary progressive rock and metal bands, and they blend together different styles of progressive music well. There are beautiful melodic moments, as well as heavier ones, but there’s a constant symphonic element that can be found throughout. They make great use of synths without overusing them, and it’s Haken ability to take touches of other prog bands and combine them into a unique and concise package that makes them such an enjoyable band to listen to. <em>Visions</em> is a very strong album, and it’s an essential listen for any fan of progressive rock or metal.</p> <p align="justify"> </p> <p align="justify"><img style="display: inline; float: left" title="bilateral" alt="bilateral" align="left" src="http://lh4.ggpht.com/-wzGWXwKgA2w/TvEHHaX9LaI/AAAAAAAABI4/Rt5aoiOjFms/bilateral2.jpg?imgmax=800" width="200" height="200" /></p> <p align="justify">Leprous <br />Bilateral</p> <p align="justify">Leprous’ <em>Bilateral</em> is a largely experimental prog metal album that never loses sight of its human qualities. Throughout its avant-garde weirdness and constant styles changes, there is a consistent sense of passion to the music, and it’s great to hear both sides of progressive music work together so well. Former Emperor frontman Ihsahn makes an appearance, so it goes without saying that parts of <em>Bilateral</em> are heavy. There’s also a great deal of melody here, often found within the same sections, but there are truly beautiful segments as well. There are also plenty of crazy avant-garde parts, but none sound forced. The record flows incredibly well, and as a whole <em>Bilateral</em> is one the most ambitious and overall best progressive albums of 2011.</p> <p align="justify"> </p> <p align="justify"><img style="display: inline; float: left" title="tales of the sands" alt="tales of the sands" align="left" src="http://lh5.ggpht.com/--RhzTP7GKF0/TvEHHh4BP6I/AAAAAAAABJA/2SaXdWdhWSk/tales-of-the-sands2.jpg?imgmax=800" width="200" height="200" /></p> <p align="justify">Myrath <br />Tales of the Sands</p> <p align="justify">Myrath’s third album sees the band progressing into a polished and complete progressive metal group. On <em>Tales of the Sands</em>, all aspects of Myrath’s sound come together to make catchy and unique pieces of music. The instrumentals range from symphonic to the standard crunching metal riffs, and the vocals are usually high pitched and would fit well in a quality power metal band. However, what sets Myrath apart are their oriental influences, specifically in their use of Arabian folk. It would be one thing if the band just played progressive metal and then transitioned into oriental sections, but Myrath do a lot more. The two styles are blended together seamlessly, and neither overpowers the other. There are a few songs that forgo the folk influences, which is strange because when used they are prominent part of the music. The songs without oriental sounds don’t fare as well, as the strong vocals can’t carry the entire load. The pure prog metal riffs just aren’t all that interesting, so it’s a good thing that most of the tracks are able to work with both parts of Myrath’s sound. Overall, <em>Tales of the Sands</em> is easily the best Myrath album yet, and it’s a very solid and mostly unique progressive album.</p> <p align="justify"> </p> <p align="justify"><img style="display: inline; float: left" title="the tree of life" alt="the tree of life" align="left" src="http://lh3.ggpht.com/-yHcySgFskp8/TvEHHzQmLEI/AAAAAAAABJI/tgECQK8dM6Q/the-tree-of-life2.jpg?imgmax=800" width="200" height="200" /></p> <p align="justify">Orne <br />The Tree of Life</p> <p align="justify">Influenced by early progressive rock bands, Orne have created a varied and often beautiful contemporary reimagining of 70’s prog rock. The difference is that Orne are have learned from how the genre has evolved throughout the years, and as such their album is focused and devoid of jamming or segments that don’t advance the music. The heavier parts are built up to in logical ways, and the album feels concise as a result. And while the band is clearly based in classic prog, they aren’t afraid to mix things up. There are some clear folk elements, as well as some male and female harmonies that are beautifully executed. The whole album has an atmospheric feel to it, and the spoken word sections add to that, even for those who ignore the rather uneventful story. Taken as a whole, <em>The Tree of Life</em> is a long, but never boring, album that borrows from its influences while bringing new ideas to the table. It’s the kind of album that progresses as it goes along, and prog fans wouldn’t have it any other way.</p> <p align="justify"> </p> <p align="justify"><img style="display: inline; float: left" title="grace for drowning" alt="grace for drowning" align="left" src="http://lh6.ggpht.com/-kA_OLSlT2VQ/TvEHH41FkPI/AAAAAAAABJQ/QjRZxi_adUQ/grace-for-drowning6.jpg?imgmax=800" width="200" height="200" /></p> <p align="justify">Steven Wilson <br />Grace for Drowning</p> <p align="justify">Steven Wilson, best known as the frontman of Porcupine Tree and half of Blackfield and No-Man, has returned with his second solo album. This one bears little resemblance to 2008’s <em>Insurgentes</em>, and is instead a straightforward prog rock album that sounds right out of the late 60’s and early 70’s. <em>Grace for Drowning</em> bears a striking resemble to King Crimson and other early progressive bands, and as such it embraces parts of Porcupine Tree’s music without sounding like a true PT album. If you like progressive rock, you’ve certainly heard similar albums to <em>Grace for Drowning</em>. It has the usual mix of soft ballads and heavier instrumental showcases, often both in the same track. Wilson is a solid singer and guitarist, but his biggest strength remains as a songwriter. That’s what makes <em>Grace for Drowning</em> a worthwhile listen, as the familiar sounding parts are weaved together in ways that pay tribute to classic prog while still sounding new in the process. <em>Grace for Drowning</em> is far from Steven Wilons’ best, but it’s good at what it does, and for fans of classic progressive rock, this two-disc epic is a treat.</p> <p align="justify"> </p> <p align="justify"><img style="display: inline; float: left" title="the lotus effect" alt="the lotus effect" align="left" src="http://lh5.ggpht.com/-Ubj1JEr5Kls/TvEHIEenJFI/AAAAAAAABJY/YtVPeWtu9RU/the-lotus-effect3.jpg?imgmax=800" width="199" height="200" /></p> <p align="justify">Sun Caged <br />The Lotus Effect</p> <p align="justify">As a melodic progressive metal band, Sun Caged is often compared to Dream Theater. I’m not sure those comparisons are valid, as Sun Caged is far less technical and more varied than the classic New York prog band, but that’s a good place to start when recommending Sun Caged. And to be clear, this band is definitely worthy of a recommendation. Their latest album, <em>The Lotus Effect</em>, mixes acoustic and symphonic elements into Sun Caged’s melodic progressive metal sound, which makes the music that much more melodic. The vocalist will remind many of James Labire (again, from Dream Theater), but he lacks the range necessary to compete with him. In reality, the vocals are fairly standard for progressive metal, but they fit the music well. What really makes <em>The Lotus Effect</em> a great album is the sheer epic feel that runs throughout. The songs are mostly long, with the finale being almost 25 minutes, but they never get boring. Even with a fairly simple style, Sun Caged manage to build the songs in logical and interesting ways. This makes <em>The Lotus Effect</em> a consistent and enjoyable album, and that’s not something that can be said for most melodic prog.</p> <p align="justify"> </p> <p align="justify"><img style="display: inline; float: left" title="communication lost" alt="communication lost" align="left" src="http://lh4.ggpht.com/-MwFDPulScxI/TvEHIW1JLCI/AAAAAAAABJg/358CFcnfNhg/communication-lost2.jpg?imgmax=800" width="200" height="200" />Wolverine <br />Communication Lost</p> <p align="justify">Removing the growling from their sound turned out to be a great decision for Wolverine. <em>Communication Lost</em> is a much lighter album than past releases from the band, but it’s easily the group’s best album yet and one the best albums of 2011. The songs are incredibly varied and well written, and include a wide range of instruments and influences. There are still some heavy moments, and the vocals match the style of music well, subtlety changing from high and melodic to rough and low. There’s also a great deal of tension here, and it’s amazing how quickly Wolverine can shift from the beautiful to the powerful and back. This is great melodic and atmospheric progressive music that exists somewhere in between hard rock and metal, and it’s the kind of record that shows an equal amount of talent in the instrumentation and songwriting. <em>Communication Lost</em> is a truly outstanding album, and while some of the heavier segments from past Wolverine are missed, what’s here is excellent from start to finish.</p> Bryce Murphyhttp://www.blogger.com/profile/04012670966156122386noreply@blogger.com0tag:blogger.com,1999:blog-4702726699213504464.post-23039807450230072352011-12-18T23:27:00.001-08:002012-02-01T23:42:29.109-08:002011 HBG- Alternative/Indie Rock<strong>Sections: <br /></strong>-<a href="http://soundwriter.blogspot.com/2011/12/2011-hbg-introduction.html">Introduction</a> <br />-<a href="http://soundwriter.blogspot.com/2011/12/2011-hbg-rock.html">Rock</a> <br />-<a href="http://soundwriter.blogspot.com/2011/12/2011-hbg-hip-hop.html">Hip Hop</a> <br />-<a href="http://soundwriter.blogspot.com/2011/12/2011-hbg-melodeaththrashsludge-metal.html">Melodeath/Thrash/Sludge Metal</a> <br />-<a href="http://soundwriter.blogspot.com/2011/12/2011-hbg-electronic.html">Electronic</a> <br />-<a href="http://soundwriter.blogspot.com/2011/12/2011-hbg-powersymphonicfolk-metal.html">Power/Symphonic/Folk Metal</a> <br />-<a href="http://soundwriter.blogspot.com/2011/12/2011-hbg-alternativeindie-rock.html">Alternative/Indie Rock</a> <br />-<a href="http://soundwriter.blogspot.com/2011/12/2011-hbg-progressive.html">Progressive</a> <br />-<a href="http://soundwriter.blogspot.com/2011/12/2011-hbg-hardcore.html">Hardcore</a> <br />-<a href="http://soundwriter.blogspot.com/2012/01/2011-hbg-death-metal.html">Death Metal</a> <br />-<a href="http://soundwriter.blogspot.com/2012/01/2011-hbg-black-metal.html">Black Metal</a> <br />-<a href="http://soundwriter.blogspot.com/2012/01/2011-hbg-ambientpost-rock.html">Ambient/Post-Rock</a> <br />-<a href="http://soundwriter.blogspot.com/2012/02/2011-hbg-gothicindustrialdarkwave.html">Gothic/Industrial/Darkwave</a> <br />-Folk- Coming Soon <br />-Doom Metal- Coming Soon <br />-Experimental- Coming Soon <p align="justify"> </p> <p align="justify">The term “indie” is now being thrown around to describe basically any form of contemporary alternative music. Major label bands with no indie rock influences are being marketed as indie bands, and it’s getting harder to tell what exactly the genre is at this point. For that reason, indie and alternative rock have been put into the same category for this year’s guide. In terms of quality, alternative had a less than stellar year, but there were still some good albums that had to be left off the list. Here are 10 great alternative and indie rock albums released in 2011.</p> <p align="justify"> </p> <p align="justify"><img style="display: inline; float: left" title="showroom of compassion" alt="showroom of compassion" align="left" src="http://lh5.ggpht.com/---ciug9rZlA/Tu7nWlHs9iI/AAAAAAAABHI/0EtMT9Q6EZw/showroom-of-compassion2.jpg?imgmax=800" width="200" height="200" /></p> <p align="justify">Cake <br />Showroom of Compassion</p> <p align="justify">Compared to their contemporaries, Cake have always been the “mature” part-comedy part-alternative rock band. While Ween were crude, The Presidents were random, and Weezer were full on pop parody, Cake were the more simple and sophisticated of the lot. Their music is simple but wildly unique and creative, and their lyrics range from parody to literary references. <em>Showroom of Compassion</em> is the first Cake album in seven years, and it shows the band growing as musicians. Some alternative fans may be put off by its almost avant-garde oddity at times, especially on tracks like “Teenage Pregnancy,” but listeners who embrace <em>Showroom of Compassion</em>’s mix of the weird and the accessible will find Cake’s best album since <em>Prolong the Magic</em> and maybe even the most consistent album of their career.</p> <p align="justify"> </p> <p align="justify"><img style="display: inline; float: left" title="100 lovers" alt="100 lovers" align="left" src="http://lh6.ggpht.com/-Y0oeG3_OsGY/Tu7nW75YTCI/AAAAAAAABHQ/UDHrNwgInkQ/100-lovers2.jpg?imgmax=800" width="200" height="200" /></p> <p align="justify">DeVotchKa <br />100 Lovers</p> <p align="justify">DeVotchKa don’t do things a whole lot differently than other indie rock bands. They just do it better. <em>100 Lovers</em> is a little country, a little gothic, and a little poppy, but the sound it forms is sort of a purer, more polished version of contemporary indie music. The vocals will be especially familiar to indie rock listeners, but there is a beautiful atmosphere to the instrumentals that creates a nice contrast between the clean instrumentation and rough vocals. There are beautiful moments, as well as some heavier rock ones, and the music remains catchy and varied throughout. There are also a lot of different instruments being used, and used as more than just novelty. These includes a full arsenal of string, woodwind, and brass instruments. One of the heavier songs, “The Man From San Sebastian” even uses an accordion in the main riff. If you like indie rock, <em>100 Lovers</em> is definitely an album worth checking out.</p> <p align="justify"> </p> <p align="justify"><img style="display: inline; float: left" title="build a rocket boys" alt="build a rocket boys" align="left" src="http://lh3.ggpht.com/-fsambblkjGA/Tu7nXKN4SDI/AAAAAAAABHY/homZQ54xK3w/build-a-rocket-boys2.jpg?imgmax=800" width="200" height="200" /></p> <p align="justify">Elbow <br />Build a Rocket Boys!</p> <p align="justify"><em>Build a Rocket Boys!</em> takes Elbow’s sound to a more theatrical level. The results are mixed, as the pseudo-operatic vocals, large harmonies, and orchestral arrangements sometimes distract from the indie rock that Elbow has perfected over the years. However, that core sound is still there, and occasionally Elbow’s ambitious songwriting pays off. Unlike a lot of indie bands that sound forced, the passion of Elbow can be heard throughout. Even amongst the often cluttered instrumentals, there is a strong human element that shines through, and that makes this a treat to listen to.</p> <p align="justify"> </p> <p align="justify"><img style="display: inline; float: left" title="in the mountain in the cloud" alt="in the mountain in the cloud" align="left" src="http://lh6.ggpht.com/-JZv_1dWKoeg/Tu7nXEzz12I/AAAAAAAABHg/Ar5q9zlhf58/in-the-mountain-in-the-cloud2.jpg?imgmax=800" width="200" height="200" /></p> <p align="justify">Portugal. The Man <br />In the Mountain in the Cloud</p> <p align="justify">Portugal. The Man’s major label debut is every bit as good as their independent releases. Much like on past albums, there is a theme to <em>In the Mountain in the Clouds</em>, and stylistically the album is very different from anything the group has done before while still retaining distinct elements of the sound. The vocals are still high and mostly in falsetto, but the music this time around is largely influenced by 70’s psychedelic pop. As such, there are tons of catchy melodies, atmospheric arrangements, and plenty of psychedelic sounds littered throughout the album. It’s maybe a little simpler than past records, but it’s still Portugal. The Man. That is to say, the music is catchy, creative, and even experimental. Portugal. The Man continue to progress, and while <em>In the Mountain in the Cloud</em> is far from their most memorable release, it’s one of the best and most original indie rock albums of the year.</p> <p align="justify"> </p> <p align="justify"><img style="display: inline; float: left" title="the king of limbs" alt="the king of limbs" align="left" src="http://lh5.ggpht.com/-QPEXrPuGrCo/Tu7nXS7to8I/AAAAAAAABHo/MoOFeNMBobk/the-king-of-limbs2.jpg?imgmax=800" width="200" height="200" /></p> <p align="justify">Radiohead <br />The King of Limbs</p> <p align="justify">While shorter and less revolutionary than many fans were expecting, Radiohead’s <em>The King of Limbs</em> is nonetheless a great album. Stylistically, it has more in common with <em>Kid A</em> than <em>In Rainbows</em>, as most of the tracks are closer to electronic than rock. Radiohead are quite good at that though, and there are some real highlights here. “Give Up the Ghost” makes great use of layering to create a haunting and atmospheric sound. The single “Lotus Flower” is also exceptional, and strikes a perfect balance between being a catchy rock song and a sort of Flying Lotus-inspired dance track. Moments like those could only be created by Radiohead, and even though it’s not as consistent as what we’ve come to expect, this is 35 minutes of quality and occasionally excellent music.</p> <p align="justify"> </p> <p align="justify"><img style="display: inline; float: left" title="mirror traffic" alt="mirror traffic" align="left" src="http://lh6.ggpht.com/-ULNlHh6o5d4/Tu7nXootDDI/AAAAAAAABHw/hAwhvZ7Aqqw/mirror-traffic4.jpg?imgmax=800" width="200" height="200" /></p> <p align="justify">Stephen Malkmus & the Jicks <br />Mirror Traffic</p> <p align="justify">After the sonic jam-fest that was <em>Real Emotional Trash</em>, Stephen Malkmus and company have returned with a slower, more laid back, and more straightforward indie rock album. Mlalkmus is best known as being the frontman of legendary rock band Pavement, and <em>Mirror Traffic</em> is the closest the Jicks have gotten to matching Pavement’s sound. In a way that’s a little disappointing, as the Jicks were just beginning to find their own sound, one that was heavier and more chaotic than Malkmus’ former group. <em>Mirror Traffic</em> is still a smart and focused album though, and it sees a more mature Stephen Malkmus dealing with political and social issues in a way that only he could. It’s hard to say where the Jicks will go from here, but they’ve made another solid album, albeit a much a tamer one than fans might expect.</p> <p align="justify"> </p> <p align="justify"><img style="display: inline; float: left" title="demolished thoughts" alt="demolished thoughts" align="left" src="http://lh5.ggpht.com/-iegh9z5gnJU/Tu7nX117ZqI/AAAAAAAABH4/iZRzGOacT3A/demolished-thoughts2.jpg?imgmax=800" width="200" height="200" /></p> <p align="justify">Thurston Moore <br />Demolished Thoughts</p> <p align="justify"><em>Demolished Thoughts</em> is a very interesting album from the frontman of Sonic Youth. The music here is far from being noise rock, as Moore has taken a mellow and contemporary approach. Most of the guitars are acoustic, although it’s far from a singer/songwriter record. There are plenty of other instruments used, including different types of string and percussion, and Moore’s rough voice still has the same passionate feel as it does in Sonic Youth. Despite being mellow, <em>Demolished Thoughts</em> has a heavy feel to it, and any beauty it creates is dark and melancholy. It shows a different side of an incredibly creative and talented musician, and it’s quite possibly the best album Moore has been a part of in well over a decade.</p> <p align="justify"> </p> <p align="justify"><img style="display: inline; float: left" title="nine types of light" alt="nine types of light" align="left" src="http://lh6.ggpht.com/-kByZa33OQ7o/Tu7nYHG7SaI/AAAAAAAABIA/UtUvsGnIfZo/nine-types-of-light2.jpg?imgmax=800" width="200" height="200" /></p> <p align="justify">TV on the Radio <br />Nine Types of Light</p> <p align="justify">While slightly more mellow than past TV on the Radio albums, <em>Nine Types of Light</em> is an artistic triumph and a natural evolution for the band’s sound. There are numerous subtle touches that reward careful listening, and it’s catchy and unique enough for those who just want a straight up rock album. The album starts with the incredible “Second Song,” which opens slowly and builds to an epic atmospheric ending. That song is one of the best of the band’s career, and it’s far from the only highlight on <em>Nine Types of Light</em>. The album as a whole progresses brilliantly, and a movie that TV on the Radio released online shows an alternative order for the tracks that makes the music progress in a different but equally interesting way. It’s clear that a great deal of time and attention has been put into making <em>Nine Types of Light</em>, and it’s paid dividends. This is a varied and consistently entertaining rock album that cements TV on the Radio’s place as one of the elite creative forces in music today.</p> <p align="justify"> </p> <p align="justify"><img style="display: inline; float: left" title="dynamite steps" alt="dynamite steps" align="left" src="http://lh3.ggpht.com/-7OrYFNOLOJg/Tu7nYMYQ1rI/AAAAAAAABII/dV-6L5sKmb0/dynamite-steps2.jpg?imgmax=800" width="200" height="200" /></p> <p align="justify">The Twilight Singers <br />Dynamite Step</p> <p align="justify">One of the best storytellers in rock music, Greg Dulli has outdone himself with <em>Dynamite Step</em>. The latest from The Twilight Singers is a dark and beautiful work of art that is catchy and emotionally gripping in equal measure. <em>Dynamite Steps</em> revels in atmosphere, mostly of the dark variety, and it has a more varied and complete sound form the entire band. This is an album that doesn’t just rely on Dulli’s voice and lyrics to convey its story, but has some strong instrumentation and interesting arrangements. Subtle touches like string instruments being introduced in the background halfway through a song and changes in how the vocals are filtered make this a deep album musically, and the same attention to detail can found in Dulli’s lyrics. This is a great album and the best yet from The Twilight Singers.</p> <p align="justify"> </p> <p align="justify"><img style="display: inline; float: left" title="wild flag" alt="wild flag" align="left" src="http://lh3.ggpht.com/-7vTG1vN37eY/Tu7nYQkXejI/AAAAAAAABIQ/V_JX3s2wo4k/wild-flag2.jpg?imgmax=800" width="200" height="200" /></p> <p align="justify">Wild Flag <br />Wild Flag</p> <p align="justify"><em>Wild Flag</em> may be the closest Sleater-Kinney fans ever get to a new album from trio. For some it’s enough just to hear Carrie Brownstein and Janet Weiss together again, even if Corin Tucker’s trademark vocals are nowhere to be found. Others will have a hard time looking past the Sleater-Kinney similarities and will loose interest in this new project quickly. What’s here is far too similar to classic Sleater-Kinney to avoid the comparisons, but <em>Wild Flag</em> is still worth a listen for any indie fan. The music is aggressive in all the right ways, and Mary Timony does an adequate job of filling Tucker’s void.</p> Bryce Murphyhttp://www.blogger.com/profile/04012670966156122386noreply@blogger.com0tag:blogger.com,1999:blog-4702726699213504464.post-19246083651551090332011-12-18T05:35:00.001-08:002012-02-01T23:44:05.654-08:002011 HBG- Power/Symphonic/Folk Metal<strong>Sections: <br /></strong>-<a href="http://soundwriter.blogspot.com/2011/12/2011-hbg-introduction.html">Introduction</a> <br />-<a href="http://soundwriter.blogspot.com/2011/12/2011-hbg-rock.html">Rock</a> <br />-<a href="http://soundwriter.blogspot.com/2011/12/2011-hbg-hip-hop.html">Hip Hop</a> <br />-<a href="http://soundwriter.blogspot.com/2011/12/2011-hbg-melodeaththrashsludge-metal.html">Melodeath/Thrash/Sludge Metal</a> <br />-<a href="http://soundwriter.blogspot.com/2011/12/2011-hbg-electronic.html">Electronic</a> <br />-<a href="http://soundwriter.blogspot.com/2011/12/2011-hbg-powersymphonicfolk-metal.html">Power/Symphonic/Folk Metal</a> <br />-<a href="http://soundwriter.blogspot.com/2011/12/2011-hbg-alternativeindie-rock.html">Alternative/Indie Rock</a> <br />-<a href="http://soundwriter.blogspot.com/2011/12/2011-hbg-progressive.html">Progressive</a> <br />-<a href="http://soundwriter.blogspot.com/2011/12/2011-hbg-hardcore.html">Hardcore</a> <br />-<a href="http://soundwriter.blogspot.com/2012/01/2011-hbg-death-metal.html">Death Metal</a> <br />-<a href="http://soundwriter.blogspot.com/2012/01/2011-hbg-black-metal.html">Black Metal</a> <br />-<a href="http://soundwriter.blogspot.com/2012/01/2011-hbg-ambientpost-rock.html">Ambient/Post-Rock</a> <br />-<a href="http://soundwriter.blogspot.com/2012/02/2011-hbg-gothicindustrialdarkwave.html">Gothic/Industrial/Darkwave</a> <br />-Folk- Coming Soon <br />-Doom Metal- Coming Soon <br />-Experimental- Coming Soon <p align="justify"> </p> <p align="justify">While these subgenres of metal are often combined with each other, power, symphonic, and folk metal all had very different years. Power metal was well represented and included a return to form by one of the genre’s biggest fans. Symphonic metal had, well, Nightwish, and folk metal had a number of outstanding releases in 2011.</p> <p align="justify"> </p> <p align="justify"><img style="display: inline; float: left" title="anubis gate" alt="anubis gate" align="left" src="http://lh6.ggpht.com/-FjS3aLaL5WA/Tu3sCYjzviI/AAAAAAAABF0/TlttYjrZ_M8/anubis-gate4.jpg?imgmax=800" width="200" height="200" /></p> <p align="justify">Anubis Gate <br />Anubis Gate</p> <p align="justify">Instead of hiring a new vocalist after the departure of the second singer, the progressive power metal band has decided to let bassist and backing singer Henrik Fevre handle lead vocal duties. It may seem like a strange choice, but it’s probably the right one for Anubis Gate going forward. Fevre has a strong voice, albeit one without a ton of range, and he works well with the melodic riffs and fast solos on the band’s self-titled release. There’s not as much variety here as on other Anubis Gate albums, but the sound that the band works with, a pretty even mix of progressive and power metal, is entertaining throughout. If you like melodic metal, Anubis Gate’s latest is definitely worth a listen.</p> <p align="justify"> </p> <p align="justify"><img style="display: inline; float: left" title="cold wings on timeless days" alt="cold wings on timeless days" align="left" src="http://lh6.ggpht.com/-O5BmV2gGhGc/Tu3sCsOmXcI/AAAAAAAABF4/ojbJglXMzgQ/cold-wings-on-timeless-days2.jpg?imgmax=800" width="200" height="200" /></p> <p align="justify">Charred Walls of the Damned <br />Cold Winds on Timeless Days</p> <p align="justify">Featuring three former members of Iced Earth, including ex-vocalist Tim “Ripper” Owens, Charred Walls of the Damned are a power metal band with a surprisingly heavy and original sound. Their guitars are fast, the vocals are as powerful as fans of Owens have come to expect, but there are some a number of extreme metal elements that make <em>Cold Winds on Timeless Days</em> more than an Iced Earth-esque album. There are times when the band will break into pure thrash metal, and even borderline death metal. This makes their sound harsher and far more varied than their contemporaries, and that combined with the talent of the musicians make this one of the best power metal albums of 2011.</p> <p align="justify"> </p> <p align="justify"><img style="display: inline; float: left" title="terra ursorum" alt="terra ursorum" align="left" src="http://lh4.ggpht.com/-9oX-u1It6b4/Tu3sC4rzd0I/AAAAAAAABGA/knT1yEtoYJc/terra-ursorum2.jpg?imgmax=800" width="200" height="200" /></p> <p align="justify">Dukhi Predkov <br />Terra Ursorum</p> <p align="justify">There is something about Middle Eastern folk that just works with heavy metal. Russian metal band Dukhi Predkov embrace a wide variety of folk influences, and make use of a number of different instrumentals. Throughout the course of the album, the usual metal instrumentals are accompanied by string and woodwind instruments, as well as the mixing of both male and female singing and extreme metal growling. The sound can be overwhelming at times, and there are some segments that move on too quickly, but fans of folk metal looking for something new in the genre can’t do much better than <em>Terra Usorum</em>. This is as unique and varied of an album as anything folk metal has seen in years.</p> <p align="justify"> </p> <p align="justify"><img style="display: inline; float: left" title="dystopia" alt="dystopia" align="left" src="http://lh3.ggpht.com/-7u2ZzDqgjys/Tu3sDAvRh0I/AAAAAAAABGM/ELYx5PzD7p4/dystopia2.jpg?imgmax=800" width="200" height="200" /></p> <p align="justify">Iced Earth <br />Dystopia</p> <p align="justify">Maybe the biggest surprise of 2011, Iced Earth have returned with a new vocalist and their best album in over a decade. Stu Block, former Into Eternity frontman, is an incredibly talented singer who’s chaotic style makes him a strange fit with a power metal band stuck in the 90’s. The combination works though, as Block as helped inject some life into Iced Earth’s sound. Instrumentally, there isn’t a whole lot that’s changed. The band still knows how to play their instruments, and there are some solid riffs, but for the most part its predictable without quite treading into boring territory. Again though, Stu Block, is the reason to listen. His vocal performance makes <em>Dystopia</em> into a far more unpredictable record, and one that is more entertaining than it has any right to be. It’s interesting to hear Block sing and scream over more steady and typical power metal, and <em>Dystopia</em> finds the right balance between familiar and experimental. It’s easily the best and most listenable album Iced Earth have put out in years.</p> <p align="justify"> </p> <p align="justify"><img style="display: inline; float: left" title="Varjoina kuljemme kuolleiden maassa" alt="Varjoina kuljemme kuolleiden maassa" align="left" src="http://lh3.ggpht.com/-vU1uI2BvXi8/Tu3sDs2vbYI/AAAAAAAABGU/F7v3gVusd5A/Varjoina-kuljemme-kuolleiden-maassa4.jpg?imgmax=800" width="200" height="200" /></p> <p align="justify">Moonsorrow <br />Varjoina kuljemme kuolleiden maassa</p> <p align="justify">Epic, heavy, and beautiful all at once, Moonsorrow’s <em>Varjoina kuljemme kuolleiden maass</em> is another great release from one of folk metal’s finest bands. There are essentially four songs here, all of which are over 10 minutes in length and are connected by unnecessary interludes. The songs all feel epic and incredibly powerful by the time they end, although it’s somewhat overwhelming to listen to the album as a whole. Each track sounds like the closer of an album, or even a full album condensed into 12-16 minutes. The music here is also noticeably heavier than most other folk metal, especially in the vocals. The vast majority are black metal growls, and there are moments where the music turns into pure atmospheric black metal. Those segments are the most memorable, but that’s in part because Moonsorrow build up to them so well. The folk influences are such a staple part of the sound that when removed in the middle of a long piece of music makes the pure black parts all the more powerful. The production is also influenced by black metal, namely in its lo-fi approach. This is unfortunate, as the non-black metal parts sound too constrained with that style of production. Finding the right way to produce is always tricky when combining so many different styles into a single track. So while it’s unfortunate, it’s easy to forgive and consequently recommend <em>Varjoina kuljemme kuolleiden maassa</em>.</p> <p align="justify"> </p> <p align="justify"><img style="display: inline; float: left" title="imaginaerum" alt="imaginaerum" align="left" src="http://lh5.ggpht.com/-ZS2JCUUy0N4/Tu3sD9DEgLI/AAAAAAAABGc/FDZFpAAgui0/imaginaerum3.jpg?imgmax=800" width="200" height="200" /></p> <p align="justify">Nightwish <br />Imaginaerum</p> <p align="justify">If there’s one thing Nightwish cannot be accused of, it’s doing the same thing over and over again, contrary to what many of their fans want. Anette Olzon is the still the vocalist, and much like on Nightwish’s last album, she gives a solid but unspectacular performance that works for the direction the band has taken. This would be very different music had the more operatic Tarja Turunen stayed with them, and I admit that I’d be curious to hear what <em>Imaginaerum</em> would sound like with her. The focus here is less on the vocals, however, and more on the arrangements. This is some of Nightwish’s most ambitious work to date, and while it doesn’t come close to reaching its full potential, the strong moments outshine its shortcomings. Few other metal bands have the resources necessary to pull off an album like this one, as there are orchestras, choirs, and plenty of instruments not usually found in this type of music. Tuomas Holopainen has the vision to create a full orchestral album in the style of heavy metal, and this is more his work than any Nightwish album before it. Some of the non-metal elements are over-the-top and stick out too much to fit within <em>Imaginaerum</em>’s narrative, and as such it doesn’t flow as seamlessly as it could have. Still, there are moments when this ambitious piece of theatrical music works, and those moments make <em>Imaginaerum</em> worth listening to.</p> <p align="justify"> </p> <p align="justify"><img style="display: inline; float: left" title="redemption at the puritans hand" alt="redemption at the puritans hand" align="left" src="http://lh6.ggpht.com/-FIHLwmlVKRQ/Tu3sEJysCVI/AAAAAAAABGk/ez-gCiamQp4/redemption-at-the-puritans-hand5.jpg?imgmax=800" width="200" height="200" /></p> <p align="justify">Primordial <br />Redemption at the Puritan’s Hand</p> <p align="justify">Primordial only continue to evolve. The folk metal band mixes atmospheric black metal into their sound to create to epic and varied metal songs, and their sound only continues to become more refined with each new album. <em>Redemption at the Puritan’s Hand</em> is a powerful record that is both heavy and melodic, and has a beautiful dark atmosphere. The vocals are harsh while still being clear, and the instrumentals are varied and almost progressive at times. Taken as a whole, this is an epic and even breathtaking album, and it takes its folk metal influences seriously. You don’t need to be a fan of folk metal to appreciate this album, and anyone with an interest in atmospheric music should give it a listen.</p> <p align="justify"> </p> <p align="justify"><img style="display: inline; float: left" title="iconoclast sx" alt="iconoclast sx" align="left" src="http://lh4.ggpht.com/-H1wi0ylmH78/Tu3sEVYdf1I/AAAAAAAABGs/FEXefnsXp3Y/iconoclast-sx2.jpg?imgmax=800" width="200" height="200" /></p> <p align="justify">Symphony X <br />Iconoclast</p> <p align="justify">More Symphony X is never a bad thing. After a string of outstanding albums, <em>Iconoclast</em> is somewhat tame by comparison, but even Symphony X at their least progressive still makes for an incredible listen. The talent in this band is unreal, but they avoid simply showing off. The mix of progressive, symphonic, and power metal continues to work brilliantly, and Symphony X have a great deal of variety. The songs are fast and heavy while remaining melodic and even catchy at times. There are more keyboards than on their last album, <em>Paradise Lost</em>, but for the most part <em>Iconoclast</em> stays close to the sound of the that album. The first and last tracks are long epics, but nothing quite on the level of early Symphony X. That may disappoint prog fans, but anyone with an appreciation for power and symphonic metal, or even just heavy music with an insane amount of technicality will find a great album here.</p> <p align="justify"> </p> <p align="justify"><img style="display: inline; float: left" title="the lay of thrym" alt="the lay of thrym" align="left" src="http://lh4.ggpht.com/-2Bps06Br77c/Tu3sEviw_1I/AAAAAAAABG0/miUDj6jzGIo/the-lay-of-thrym2.jpg?imgmax=800" width="200" height="200" /></p> <p align="justify">Týr <br />The Lay of Thyrm</p> <p align="justify">With power metal, there is a fine line between epic and cheesy. Týr is a band that has belonged to both categories, but <em>The Lay of Thyrm</em> lies fully in the former. This is an epic power metal album with fast and melodic riffs, tons of great solos, soaring vocals, and badass lyrics that blend fantasy and Norse mythology. This is the soundtrack to marching into a Norse battle, and it’s a hell of a ride. There are also strong folk elements here, and Týr does a great job of incorporating them into the epic power metal core without overdoing them. <em>The Lay of Thyrm</em> is an album that begs for headbanging, and it’s a reminder that fantasy themed power metal with high-pitched vocals can be epic and brutal.</p> <p align="justify"> </p> <p align="justify"><img style="display: inline; float: left" title="jordpuls" alt="jordpuls" align="left" src="http://lh4.ggpht.com/-_smfMAfzjJE/Tu3sE70bN3I/AAAAAAAABG8/SYi8jdEPP14/jordpuls2.jpg?imgmax=800" width="200" height="200" /></p> <p align="justify">Vintersorg <br />Jordpuls</p> <p align="justify">Vintersorg’s <em>Jordpuls</em> is the a perfect example of what folk metal should be. It’s fun without being silly or over-the-top, and it’s catchy without being poppy. This is an album that puts an emphasis on both the “folk” and the “metal,” the latter being especially noticeable in the main riffs. Vintersorg also established himself as a more than capable singer, and he is a competent growler as well, but his real strength is as a songwriter. He takes most notably from black metal, but also from more melodic metal, and of course there are plenty of folk influences. <em>Jordpuls</em> is an album that a wide array of influences, and it never does the same thing twice. This is a largely unpredictable album, but not a chaotic or overwhelming one, and it’s easy one to recommend to metalheads.</p> Bryce Murphyhttp://www.blogger.com/profile/04012670966156122386noreply@blogger.com0tag:blogger.com,1999:blog-4702726699213504464.post-23357421683700471392011-12-14T23:18:00.000-08:002012-02-01T23:41:56.699-08:002011 HBG- Electronic<strong>Sections: <br /></strong>-<a href="http://soundwriter.blogspot.com/2011/12/2011-hbg-introduction.html">Introduction</a> <br />-<a href="http://soundwriter.blogspot.com/2011/12/2011-hbg-rock.html">Rock</a> <br />-<a href="http://soundwriter.blogspot.com/2011/12/2011-hbg-hip-hop.html">Hip Hop</a> <br />-<a href="http://soundwriter.blogspot.com/2011/12/2011-hbg-melodeaththrashsludge-metal.html">Melodeath/Thrash/Sludge Metal</a> <br />-<a href="http://soundwriter.blogspot.com/2011/12/2011-hbg-electronic.html">Electronic</a> <br />-<a href="http://soundwriter.blogspot.com/2011/12/2011-hbg-powersymphonicfolk-metal.html">Power/Symphonic/Folk Metal</a> <br />-<a href="http://soundwriter.blogspot.com/2011/12/2011-hbg-alternativeindie-rock.html">Alternative/Indie Rock</a> <br />-<a href="http://soundwriter.blogspot.com/2011/12/2011-hbg-progressive.html">Progressive</a> <br />-<a href="http://soundwriter.blogspot.com/2011/12/2011-hbg-hardcore.html">Hardcore</a> <br />-<a href="http://soundwriter.blogspot.com/2012/01/2011-hbg-death-metal.html">Death Metal</a> <br />-<a href="http://soundwriter.blogspot.com/2012/01/2011-hbg-black-metal.html">Black Metal</a> <br />-<a href="http://soundwriter.blogspot.com/2012/01/2011-hbg-ambientpost-rock.html">Ambient/Post-Rock</a> <br />-<a href="http://soundwriter.blogspot.com/2012/02/2011-hbg-gothicindustrialdarkwave.html">Gothic/Industrial/Darkwave</a> <br />-Folk- Coming Soon <br />-Doom Metal- Coming Soon <br />-Experimental- Coming Soon <p align="justify"> </p> <p align="justify">It’s no secret that electronic music is turning into a mainstream phenomenon, but the types of electronic that have been exposed to the masses make up a pretty small portion of what the genre can do. While dubstep and electro-house have elevated to the top of the charts, the quality electronic music in 2011 was found more in downtempo, trip-hop, and in plenty of albums that mixed multiple styles of electronic. After looking back on the many great releases of the past year, these are 10 I feel best represent electronic music in 2011.</p> <p align="justify"> </p> <p align="justify"><img style="display: inline; float: left" title="perimeters" alt="perimeters" align="left" src="http://lh6.ggpht.com/-HSUEFFA8Ao4/TunOhK9Y-DI/AAAAAAAABEk/x4lbtJLwF5s/perimeters2.jpg?imgmax=800" width="200" height="200" /></p> <p align="justify">Aes Dana <br />Perimeters</p> <p align="justify">There gets to a point listening to <em>Perimeters</em> where you just have to sit back and close your eyes. Aes Dana has crafted a beautiful atmospheric album that tells a story through its varied and ever changing soundscapes. There is a great sense of motion here, as the songs will often have a constant drum beat while other sounds will pop in, create tension, and break it. The long, often cinematic tracks can last longer than ten minutes, and by the end a wide of variety of emotions have been displayed through an equally wide variety of sounds and influences. Elements of trance, ambient, industrial, and other forms of electronic are present, and they are used brilliantly. Aes Dana still has a way to go before catching labelmates Carbon Based Lifeforms, but fans of ambient electronic should take notice. This is a strong album, and one of the best electronic releases of 2011.</p> <p align="justify"> </p> <p align="justify"><img style="display: inline; float: left" title="wander wonder" alt="wander wonder" align="left" src="http://lh5.ggpht.com/-EhqcRrrnNtI/TunOhSjSAcI/AAAAAAAABEs/xW3mx5Kz1kI/wander-wonder2.jpg?imgmax=800" width="200" height="200" /></p> <p align="justify">Balam Acab <br />Wander / Wonder</p> <p align="justify">“Witch house” in its very nature is a dark genre of music. Anytime drone and darkwave make up the roots, you can be sure there will be a certain level of dark atmosphere. <em>Wander / Wonder</em> is a dark in spots, but it also has moments of light that contrast it. Much like its artwork, this is beautiful music that has been covered with dark atmosphere. Balam Acab perfects the atmospheric qualities of his music, making each side of the contrast blend together at the right times. The beats themselves are also impressive, as they sound like downtempo electronic being played through a filter. It can sometimes get repetitive, which is always an issue when working passively with ambient music, but for the most part the beats build enough to stay engaging. What ultimately prevents <em>Wander / Wonder</em> from living up to its potential is the inconsistent quality of the vocal samples. Many of the voices used are incredibly high-pitched, which sometimes works while other times puts too much emphasis on the vocals. With the incredible job of filtering that Balam Acab has done, the voices just don’t fit too much of the time. <em>Wander / Wonder</em> is still a very good album, however, and certainly a promising debut.</p> <p align="justify"> </p> <p align="justify"><img style="display: inline; float: left" title="elektrafone" alt="elektrafone" align="left" src="http://lh3.ggpht.com/-sWtB83WdbZE/TunOhiQ34lI/AAAAAAAABE0/o5_IIJclNf4/elektrafone3.jpg?imgmax=800" width="200" height="200" /></p> <p align="justify">Beats Antique <br />Elektrafone</p> <p align="justify">I’ve never liked the term “world music.” It’s too broad and says more about the location than any real aspect of the music. In the case of Beats Antique, however, that term is a necessary descriptor. <em>Elektrafone</em> is an electric album at its core, but it’s been injected with a heavy dose of “world” music. This ranges from Middle Eastern belly dancing to African jazz, and it works brilliantly. There’s not a lot of subtlety to Beats Antique’s music, as the influences are thrown right into the forefront. There are songs with afro-beat drums being played over dustep-like bass, and it helps that part of the music is performed with live instruments while others are sampled. <em>Elektrafone</em> is a lively and chaotic record, and that’s definitely a good thing. Beats Antique know how to play a wide range of music and mix it all together without one part dominating another. The music is heavy at times, melodic at others, and it all comes together to form a spectacular and utterly unique collection of songs.</p> <p align="justify"> </p> <p align="justify"><img style="display: inline; float: left" title="noir" alt="noir" align="left" src="http://lh6.ggpht.com/-nv6ClShYqgg/TunOh2cl3EI/AAAAAAAABE8/5C3voCWl2Wo/noir2.jpg?imgmax=800" width="200" height="200" /></p> <p align="justify">Blue Sky Black Death <br />Noir</p> <p align="justify">It is not often that an album leaves me speechless on first listen. More than ten listens later, I still can’t wrap my mind around the beauty that is <em>Noir</em>. Every listen brings out and more subtleties, to the point where I doubt there any producers in hip-hop or electronic music who put as many layers or think their music through as well as Blue Sky Black Death. Every sample, every note, and every sound is precisely placed and simply perfect. Stylistically, <em>Noir</em> picks up where Blue Sky Black Death’s last trip-hop album, <em>Late Night Cinema</em>, left off. The music is comprised of hip-hop beats turned into beautiful cinematic soundscapes, taking what DJ Shadow did with <em>Endtroducing…</em> and building upon that foundation like few others have. This the album every hip-hop fan imagined when they first heard what could be done with hip-hop production. Everything is perfectly clean, and the atmosphere of the music is indescribably brilliant. Subtle touches like a quick vocal sample, or the return of a sound previously used on the album, work to great effect to bring the album as a whole to life. This is not just a collection of beats, but a full cinematic piece of music split into scenes. I can’t recommend <em>Noir</em> highly enough. This is as good of an album as I’ve ever heard, and every lover of music deserves to hear it.</p> <p align="justify"> </p> <p align="justify"><img style="display: inline; float: left" title="echoespond" alt="echoespond" align="left" src="http://lh5.ggpht.com/-JWLU-wQUzwU/TunOiHSn5-I/AAAAAAAABFE/FxEzID_QLoY/echoespond3.jpg?imgmax=800" width="200" height="200" /></p> <p align="justify">Cybo <br />Echoespond</p> <p align="justify">Already one of the most extraordinary new producers in electronic music, Cybo has outdone herself with <em>Echoespond</em>. This is an album that could only be made by an artist who truly loves making music, and it’s an absolute treat to listen to beautiful atmospheric electronic music rich with the kind of passion found here. The music combines elements of Aphex Twin-like idm (intelligent dance music), industrial, ambient, and electro. Cybo has done a masterful job of weaving her influences together to create a truly unique and captivating sound, and her gorgeous vocals give the music an extra layer of atmosphere. <em>Echoespond</em> is the type of album that can be recommended to any music lover, even those without prior interest in electronic. It’s just a spectacular album from start to finish, varied and beautiful throughout.</p> <p align="justify"> </p> <p align="justify"><img style="display: inline; float: left" title="silent souls" alt="silent souls" align="left" src="http://lh6.ggpht.com/-rkivf5cctQ4/TunOiSWr7fI/AAAAAAAABFM/gRTXFAnL3oE/silent-souls2.jpg?imgmax=800" width="200" height="200" /></p> <p align="justify">Ghosts of Paraguay <br />Silent Souls</p> <p align="justify">Ghosts of Paraguay sounds a lot like Burial, but that’s far from a bad thing. If there’s one dubstep producer to base your sound off of, it’s hard to pick a better one, as well as one more difficult to duplicate. Obviously <em>Silent Souls</em> doesn’t hold a candle to Burial's work, but that’s not to say that <em>Silent Souls</em> is nothing more than a poor man’s <em>Untrue</em>. The songs here are just as atmospheric, but in a much lighter way. There are some nice vocal samples, and some instrumental beats that are breathtaking. It goes without saying that Ghosts of Paraguay needs to branch out more if he’s going to continue this style, but it’s interesting to hear an upbeat take on ambient dubstep. And no, don’t expect any high frequency wobbles or “filthy” drops. This is dubstep in its more subtle and less popular form, and <em>Silent Souls</em> will appeal more to fans of downtempo electronic than wobble bass.</p> <p align="justify"> </p> <p align="justify"><img style="display: inline; float: left" title="the branches" alt="the branches" align="left" src="http://lh5.ggpht.com/-3Xt-kQ5Wjaw/TunOigwB1hI/AAAAAAAABFU/xmzlyDRUG64/the-branches3.jpg?imgmax=800" width="200" height="200" /></p> <p align="justify">Long Arm <br />The Branches</p> <p align="justify">It’s been proven time and time again that jazz and trip-hop make for a great combination. Long Arm’s debut album is one of the best examples of that in recent memory. The way that everything flows on <em>The Branches</em> is outstanding, as the lively and sample heavy trip-hop is aided by some gorgeous jazz sections. All of it mixes together smoothly, especially when the hip-hop drums, vocal samples, and jazz instruments come together. There are also moments of ambience that make for a nice contrast from the generally active main sections. Long Arm isn’t afraid to mix styles, but again, it all flows. It’s rare that a producer who mixes as many different types of music in a short amount of time does so with as much success as this one. It works because Long Arm keeps the jazzy trip-hop sound throughout, and while not every sound works as well it could have, he always has that to fall back on. Overall <em>The Branches</em> is a very strong debut album, and one of the most recommendable trip-hop/jazz hybrids out there.</p> <p align="justify"> </p> <p align="justify"><img style="display: inline; float: left" title="wonderpuff" alt="wonderpuff" align="left" src="http://lh6.ggpht.com/-2x39XnavhOA/TunOi1NRs3I/AAAAAAAABFc/0ykTcgXAh6A/wonderpuff2.jpg?imgmax=800" width="200" height="200" /></p> <p align="justify">Pogo <br />Wonderpuff</p> <p align="justify">Already a favorite among electronic fans, Pogo has made a name for himself by creating beautiful electronic tracks with samples from famous (often Disney) films. It’s remarkable what this man can do with his samples, and <em>Wonderpuff</em> is a more subtle but undeniably impressive example of that. Pogo will use non-musical samples and incorporate it into the main melody. In the past it’s been easy to tell that all of the music is coming from the same source, essentially being remixed, but here the less recognizable sources make it almost impossible to spot without knowledge of how Pogo makes his beats. This may not give listeners the same satisfaction as his famous track “Alice,” but for the most part the music flows a lot better. Towards the end <em>Wonderpuff</em> does start to lose steam, as variety isn’t necessarily Pogo’s strongest attribute, but there’s enough high quality electronic here to earn a strong recommendation. Pogo is one insanely talented producer, and any electronic fan not yet familiar with his skills should start with his <em>Wonderland</em> EP and then give <em>Wonderpuff</em> a listen. As a whole, this may be his strongest work to date.</p> <p align="justify"> </p> <p align="justify"><img style="display: inline; float: left" title="scintilla" alt="scintilla" align="left" src="http://lh3.ggpht.com/-Cne1_AqwMcs/TunOjbNM-aI/AAAAAAAABFk/MMiblX-bv_M/scintilla3.jpg?imgmax=800" width="200" height="200" /></p> <p align="justify">Stendeck <br />Scintilla</p> <p align="justify">Stendeck first impressed me with his mixing of ambient and industrial on 2009’s <em>Sonnambula</em>. The way that the heavy industrial sounds clashed with the beautiful ambient soundscapes was brilliantly done, and unlike anything I had heard before. <em>Scintilla</em> is the latest from Stendeck, and while that contrast is still present throughout the album, much of it is more streamlined. This is really an IDM album, influenced as much by late 90’s dance music as it is industrial and ambient. It works well though, as Stendeck is clearly a focused producer who knows where he wants his music to end up. There’s never a moment where the music sounds forced, and everything builds naturally. That’s not an easy accomplishment, especially when you consider the stark contrast in light and heavy that’s found on <em>Scintilla</em>. This is the kind of electronic music that impresses on both a technical and creative level, and it’s the most consistent album of this great producer’s career. It may not make the same impression as his previous release, but it’s still an essential listen for fans of electronic and industrial.</p> <p align="justify"> </p> <p align="justify"><img style="display: inline; float: left" title="dive" alt="dive" align="left" src="http://lh5.ggpht.com/-gSe51dDIqWk/TunOjkP5zQI/AAAAAAAABFs/Q1ze9xDtUo4/dive2.jpg?imgmax=800" width="200" height="200" /></p> <p align="justify">Tycho <br />Dive</p> <p align="justify">Tycho’s <em>Dive</em> is both upbeat and downtempo at the same. This is beautiful soft electronic music with a light atmosphere and strong psychedelic influences. Acoustic guitars, synths, and drum beats make up the bulk of the music, but Tycho takes them in interesting directions. It’s clear that Tycho has a wide variety of influences, and he does a commendable job of simplifying them into a straightforward and often strikingly beautiful package. There aren’t many surprises, but you can’t ask for anything more than gorgeous beats that are accessible to just about anyone. <em>Dive</em> isn’t necessarily a masterful album, but it’s the kind of record that any music fan can listen to and get something out of.</p> Bryce Murphyhttp://www.blogger.com/profile/04012670966156122386noreply@blogger.com1tag:blogger.com,1999:blog-4702726699213504464.post-84292559234723614762011-12-13T23:46:00.000-08:002012-02-01T23:43:37.497-08:002011 HBG- Melodeath/Thrash/Sludge Metal<p><strong></strong></p> <strong>Sections: <br /></strong>-<a href="http://soundwriter.blogspot.com/2011/12/2011-hbg-introduction.html">Introduction</a> <br />-<a href="http://soundwriter.blogspot.com/2011/12/2011-hbg-rock.html">Rock</a> <br />-<a href="http://soundwriter.blogspot.com/2011/12/2011-hbg-hip-hop.html">Hip Hop</a> <br />-<a href="http://soundwriter.blogspot.com/2011/12/2011-hbg-melodeaththrashsludge-metal.html">Melodeath/Thrash/Sludge Metal</a> <br />-<a href="http://soundwriter.blogspot.com/2011/12/2011-hbg-electronic.html">Electronic</a> <br />-<a href="http://soundwriter.blogspot.com/2011/12/2011-hbg-powersymphonicfolk-metal.html">Power/Symphonic/Folk Metal</a> <br />-<a href="http://soundwriter.blogspot.com/2011/12/2011-hbg-alternativeindie-rock.html">Alternative/Indie Rock</a> <br />-<a href="http://soundwriter.blogspot.com/2011/12/2011-hbg-progressive.html">Progressive</a> <br />-<a href="http://soundwriter.blogspot.com/2011/12/2011-hbg-hardcore.html">Hardcore</a> <br />-<a href="http://soundwriter.blogspot.com/2012/01/2011-hbg-death-metal.html">Death Metal</a> <br />-<a href="http://soundwriter.blogspot.com/2012/01/2011-hbg-black-metal.html">Black Metal</a> <br />-<a href="http://soundwriter.blogspot.com/2012/01/2011-hbg-ambientpost-rock.html">Ambient/Post-Rock</a> <br />-<a href="http://soundwriter.blogspot.com/2012/02/2011-hbg-gothicindustrialdarkwave.html">Gothic/Industrial/Darkwave</a> <br />-Folk- Coming Soon <br />-Doom Metal- Coming Soon <br />-Experimental- Coming Soon <p> </p> <p align="justify">While 2011 was an incredible year for metal music as a whole, these three genres weren’t quite strong enough to fill their own category. Melodeath is the dominant one here, but sludge and thrash have a few representatives as well. The “accessible metal” section from past years is no more, but I guess this one could have been called “moderately accessible metal.”</p> <p align="justify"> </p> <p align="justify"><img style="display: inline; float: left" title="khaos legions" alt="khaos legions" align="left" src="http://lh4.ggpht.com/-KiLNDVApJ30/TuiAQtjZzQI/AAAAAAAABDU/_Oc81BB3A78/khaos-legions2.jpg?imgmax=800" width="200" height="200" /></p> <p align="justify">Arch Enemy <br />Khaos Legions</p> <p align="justify">Arch Enemy have been doing pretty much the same thing since vocalist Angela Gossow joined the band. That’s not necessarily a band thing, as the group has made subtle improvements with each new album, and released some great albums in the process. Still, it’s probably time that they moved on and tried something a little different. <em>Khaos Legions</em> is quite a bit different, and some melodic death metal fans may simply not want to hear a more accessible thrash metal take on Arch Enemy’s sound. At first I wasn’t sure what to make of it, but the music on <em>Khaos Legions</em> really works. The instrumentals are still melodic, but with more of a thrash metal base, and Gossow’s vocals are simply incredible. Every word that comes out of her mouth is clear, a rarity for growlers, and she sounds powerful on every track. <em>Khaos Legions</em> is a very good album, and a few of the tracks are downright brilliant. It may be more accessible, but it’s quite possibly the best album of Arch Enemy’s career.</p> <p align="justify"> </p> <p align="justify"><img style="display: inline; float: left" title="salam" alt="salam" align="left" src="http://lh5.ggpht.com/-wd_8kKFIDwE/TuiAQ14tL7I/AAAAAAAABDY/edY8jDp4YLg/salam2.jpg?imgmax=800" width="200" height="200" /></p> <p align="justify">Arkan <br />Salam</p> <p align="justify">With the exception of the brilliant track “Origins,” Arkan’s oriental influences can be somewhat deceptive. They use Middle Eastern sounds in their intros and outros, but rarely incorporate them well into the main parts of the songs. It’s a good thing then that Arkan play a solid brand of melodic death metal. In actuality, <em>Salem</em> is a fairly standard yet solid melodeath album that occasionally builds into something greater. Fans of oriental metal with likely be intrigued, but not fully satisfied, while melodic death fans will find a pretty solid release with some interesting ideas mixed in.</p> <p align="justify"> </p> <p align="justify"><img style="display: inline; float: left" title="ritual" alt="ritual" align="left" src="http://lh4.ggpht.com/-vFy89BHBSYg/TuiARKPntSI/AAAAAAAABDg/FaI8EsQBrSc/ritual2.jpg?imgmax=800" width="200" height="200" />The Black Dahlia Murder <br />Ritual</p> <p align="justify">There was once a time when The Black Dahlia Murder were nothing more than a heavier and slightly more respectable metalcore band. That was a long time ago. After a string of solid albums, BDM have turned into a legitimate melodic death metal group, heavier than just about any other popular American metal band this side of Lamb of God. The vocals are chaotic without being messy, and they do a nice job of mixing high screams with some really strong growling. Guitar solos are also plentiful and excellent, and it’s pretty crazy that the band can go from different spectrums of heavy metal in a short amount of time without having it sounding forced. <em>Ritual</em> is a legitimately heavy album, and one that can be easily recommended to fans of melodeath and accessible metal alike.</p> <p align="justify"> </p> <p align="justify"><img style="display: inline; float: left" title="communicate the storms" alt="communicate the storms" align="left" src="http://lh3.ggpht.com/-tzm2_KIhHgY/TuiARMx2r8I/AAAAAAAABDo/La5UBeXe17k/communicate-the-storms2.jpg?imgmax=800" width="200" height="200" /></p> <p align="justify">Cipher System <br />Communicate the Storms</p> <p align="justify">It is often assumed that melodic metal is more accessible than its “heavier” counterpart. Cipher System prove that this isn’t always true. Despite having some of the most melodic riffs you’ll find in heavy metal, <em>Communicate the Storms</em> is an absolutely brutal death metal album. It just happens to be melodic and even has a few clean vocals thrown in for good measure. It’s a great album, and I encourage those not into the heavier side of melodic death metal to give it a chance, but <em>Communicate the Storms</em> is really a record for metal purists who remember the Gothenburg scene and how heavy melodic metal could sound. The vocals, in particular, are brutal, as even the clean singing sounds strained and heavy. The growling mixes both high and low, and both have a punishing sound that wouldn’t be out of place in a brutal death metal record. All in all, this is one of the finest melodic death metal albums of the year, and it’s an easy one to recommend.</p> <p align="justify"> </p> <p align="justify"><img style="display: inline; float: left" title="until fear no longer defines us" alt="until fear no longer defines us" align="left" src="http://lh3.ggpht.com/-omulEvFnLUo/TuiARZEBjiI/AAAAAAAABDw/tYTKhl6uFoU/until-fear-no-longer-defines-us2.jpg?imgmax=800" width="200" height="200" /></p> <p align="justify">Ghost Brigade <br />Until Fear No Longer Defines Us</p> <p align="justify">Part sludge and part melodic death metal, Ghost Brigade have one of the most unique sounds in modern metal. When a band mixes two genres as clearly as Ghost Brigade do, they must know how to play both, and it’s clear that the band has them mastered. The riffs are slow and heavy for the most part, and create the almost hypnotic sound that comes from the great sludge bands. As the songs start to build, the riffs become faster, and the way that Ghost Brigade play with tension is nothing short of incredible. <em>Until Fear No Longer Defines Us</em> is easily the best and most polished album of the band’s career, and it’s hard not to be impressed by what they’ve accomplished. This is a truly unique record that plays with polar opposites in speed and emotion to great success, and it’s one of the best metal releases of 2011.</p> <p align="justify"> </p> <p align="justify"><img style="display: inline; float: left" title="one for sorrow" alt="one for sorrow" align="left" src="http://lh6.ggpht.com/-2zLC-oQzB_Q/TuiARq37DpI/AAAAAAAABD4/I2OTfgdVlQY/one-for-sorrow2.jpg?imgmax=800" width="200" height="199" /></p> <p align="justify">Insomnium <br />One for Sorrow</p> <p align="justify">Insomnium have their formula, one that really hasn’t changed for the last few albums, but it’s hard to complain when the music sounds like this. This is high quality melodic death metal with clear and powerful growling, and instrumentation that varies from brutal to downright beautiful. The clean singing isn’t the best that the genre has to offer, but Insomnium don’t overdue it. The singing does what it needs to do, namely offer a break from the harsh vocals, and again, it’s hard to complain when the rest of the music is so polished. <em>One of Sorrow</em> is a solid melodic death metal album that doesn’t try to reinvent the genre or Insomnium’s sound, but it does offer consistent and accessible melodeath for fans of the genre and newcomers alike.</p> <p align="justify"> </p> <p align="justify"><img style="display: inline; float: left" title="unto the locust" alt="unto the locust" align="left" src="http://lh4.ggpht.com/-RXbEqUo5GAo/TuiARyyorLI/AAAAAAAABEA/HyYy2ym4tgs/unto-the-locust2.jpg?imgmax=800" width="200" height="200" /></p> <p align="justify">Machine Head <br />Unto the Locust</p> <p align="justify">Picking up where 2007’s <em>The Blackening</em> left off, <em>Unto the Locust</em> builds on the sound Machine Head nailed with that record. The songs are long, aggressive, and passionate, and even contain some progressive elements that should shock anyone who suffered through the band’s nu-metal phase. Machine Head are still angry, and thankfully still heavy, but they’ve matured. The vocals are a mix between Rob Flyn’s trademark guttural screams and clean singing that is just rough enough to fit with the music. Instrumentally, this is Machine Head, just a more varied version. There are still Pantera-like grooves and chugging riffs, but they never do the same thing for too long. They’re not afraid to mix things up and go into heavy sonic assaults or even melodic solos. If <em>The Blackening</em> was the album every Machine Head fan waited for after their classic debut in ‘94, then <em>Unto the Locust</em> is the kind of follow-up those fans should embrace. This is a heavy, largely accessible record that sees a mature and confident Machine Head building on what’s worked.</p> <p align="justify"> </p> <p align="justify"><img style="display: inline; float: left" title="the hunter" alt="the hunter" align="left" src="http://lh3.ggpht.com/-io7VDGnNo-U/TuiASDd-nSI/AAAAAAAABEI/BoILTm5Rh7w/the-hunter2.jpg?imgmax=800" width="200" height="200" /></p> <p align="justify">Mastodon <br />The Hunter</p> <p align="justify">What can be said about Mastodon that hasn’t been said a million times already? This band is incredible on so many levels, and it’s hard to review one of their albums without sounding like an obsessed fan boy. The thing is that after listening to so many metal albums that try and fail to combine the heavy and melodic, and so many bands that show no progression between albums, it becomes all the more refreshing to hear an artist that has absolutely mastered what so many fail to do. Mastodon have their sound, but they’ve never made the same album twice. <em>The Hunter</em> is no exception, as Mastodon have traded the long prog epics from <em>Crack the Skye</em> and the story from the last three albums in for a straight-forward gem of an album that can only be described as everything Mastodon rolled into a concise package. <em>The Hunter</em> is heavy, melodic, accessible, unique, and just about everything a music fan could want. There are progressive elements, strong sludge influences, and bits of stoner and hard rock, all of which form a distinct and varied sound that continues to progress as the album wears on. The higher vocals are really the only regression here, as what suddenly became a strength on <em>Crack the Skye</em> is back to being a little too rough and not enough of a contrast to the lower singing. <em>The Hunter</em> may not definitively be the best album Mastodon has produced, but that’s really only a testament to the strength of their first four records. This is a fantastic album by a fantastic band.</p> <p align="justify"> </p> <p align="justify"><img style="display: inline; float: left" title="pscyhology of death" alt="pscyhology of death" align="left" src="http://lh3.ggpht.com/-IJxoTUm5qac/TuiASfktl3I/AAAAAAAABEQ/t_2mAh8JDRY/pscyhology-of-death4.jpg?imgmax=800" width="200" height="200" /></p> <p align="justify">Mortal Sin <br />Psychology of Death</p> <p align="justify">Quite possibly the biggest surprise of 2011, old-school thrash metal band Mortal Sin have released a monster of an album. <em>Psychology of Death</em> comes 26 years after their formation, and it’s easily the most unique, heavy, and overall best album of their career. It reminds me a lot of Testament’s <em>The Formation of Damnation</em> from 2008, in that the sound is rooted in 80’s thrash, while adding strong elements of death and modern extreme metal. The result is a punishing collection of chaotic metal songs that prove there is still some life in old-school thrash.</p> <p align="justify"> </p> <p align="justify"><img style="display: inline; float: left" title="HA55026_6_7" alt="HA55026_6_7" align="left" src="http://lh5.ggpht.com/-cKE9juL5p9A/TuiASvo22GI/AAAAAAAABEY/NXQ6FzDAOYs/outer-isolation3.jpg?imgmax=800" width="200" height="200" /></p> <p align="justify">Vektor <br />Outer Isolation</p> <p align="justify">“Technical thrash metal” does not seem like a genre that would work. Granted, Vektor are far from the first to try this, but <em>Outer Isolation</em> may be the first in the genre to really show that thrash metal can be overly technical without losing the heaviness and passion that makes it worthwhile. This is a far cry from Slayer or Venom’s brutal rage, but Vektor have managed something to create an interesting album with an unruly amount of tempo and time signature changes. What’s important is that the music here is impressively technical, which is an obviously essential part of technical metal, and they do this without the usual wankery of the genre. There’s a fine line being impressive and obnoxious in technical music, and Vektor manage to stay on the right side of it. It’s hard to say whether thrash metal fans will embrace <em>Outer Isolation</em>, but I hope they do. This is really a pretty solid blend of thrash and tech metal, and it works a lot better than it has any right to.</p> Bryce Murphyhttp://www.blogger.com/profile/04012670966156122386noreply@blogger.com0tag:blogger.com,1999:blog-4702726699213504464.post-11176444049833188692011-12-12T22:27:00.001-08:002012-02-01T23:45:09.804-08:002011 HBG- Hip Hop<p><strong></strong></p> <strong>Sections: <br /></strong>-<a href="http://soundwriter.blogspot.com/2011/12/2011-hbg-introduction.html">Introduction</a> <br />-<a href="http://soundwriter.blogspot.com/2011/12/2011-hbg-rock.html">Rock</a> <br />-<a href="http://soundwriter.blogspot.com/2011/12/2011-hbg-hip-hop.html">Hip Hop</a> <br />-<a href="http://soundwriter.blogspot.com/2011/12/2011-hbg-melodeaththrashsludge-metal.html">Melodeath/Thrash/Sludge Metal</a> <br />-<a href="http://soundwriter.blogspot.com/2011/12/2011-hbg-electronic.html">Electronic</a> <br />-<a href="http://soundwriter.blogspot.com/2011/12/2011-hbg-powersymphonicfolk-metal.html">Power/Symphonic/Folk Metal</a> <br />-<a href="http://soundwriter.blogspot.com/2011/12/2011-hbg-alternativeindie-rock.html">Alternative/Indie Rock</a> <br />-<a href="http://soundwriter.blogspot.com/2011/12/2011-hbg-progressive.html">Progressive</a> <br />-<a href="http://soundwriter.blogspot.com/2011/12/2011-hbg-hardcore.html">Hardcore</a> <br />-<a href="http://soundwriter.blogspot.com/2012/01/2011-hbg-death-metal.html">Death Metal</a> <br />-<a href="http://soundwriter.blogspot.com/2012/01/2011-hbg-black-metal.html">Black Metal</a> <br />-<a href="http://soundwriter.blogspot.com/2012/01/2011-hbg-ambientpost-rock.html">Ambient/Post-Rock</a> <br />-<a href="http://soundwriter.blogspot.com/2012/02/2011-hbg-gothicindustrialdarkwave.html">Gothic/Industrial/Darkwave</a> <br />-Folk- Coming Soon <br />-Doom Metal- Coming Soon <br />-Experimental- Coming Soon <p> </p> <p align="justify">2011 has been another strong year for hip-hop. Despite a few major disappointments, hip-hop in 2011 saw a number of great releases from established artists and underground newcomers alike. After making some hard cuts, I’ve come up with what I believe to be the 10 best hip-hop albums released in the past year.</p> <p align="justify"> </p> <p align="justify"><img style="display: inline; float: left" title="the family sign" alt="the family sign" align="left" src="http://lh3.ggpht.com/-ec1JEhZbxAg/TubwTm1S_uI/AAAAAAAABCE/g2BN6Fb4acc/the-family-sign5.jpg?imgmax=800" width="200" height="200" /></p> <p align="justify">Atmosphere <br />The Family Sign</p> <p align="justify"><em>The Family Sign</em> is a polarizing album, and one of the hardest albums I’ve had to grade this year. On one hand, <em>The Family Sign</em> contains some of Atmosphere’s best work, especially at the beginning and end of the record. It starts out with “My Key,” a remarkably beautiful tribute to the late Eyedea, and then proceeds to two equally powerful tracks in “The Last to Say” and “Became.” The lead single “Just for Show” follows, and while it may not have the power of the first three tracks, it’s an exceptionally well written song with a great lively beat. At this point, Slug’s lyrics and Ant’s beats (now featuring a full band to match their live show) are the best Atmosphere has ever been. That makes it all the more disappointing when the filler starts to set in. Slug’s incredible storytelling and passionate delivery descends into lazy and overly simple rhymes for a few tracks, and the beats start to become predictable and forced. While the album does have a few solid songs in the middle, it doesn’t really find its stride again until the third from last song. That’s when the jaw-droopingly beautiful side of Atmosphere shows up again, especially on the indescribably powerful “Something So” and closer “My Notes.” It would be easy to call <em>The Family Sign</em> a disappointment, just as it would be easy to call it one of the best albums of the year. The truth is, there’s a little of both here, but the former prevents this dark and deeply personal album from reaching the level of <em>When Life Gives You Lemons You Paint That Shit Gold</em> or <em>God Loves Ugly</em>. </p> <p align="justify"> </p> <p align="justify"><img style="display: inline; float: left" title="hot sauce committee part two" alt="hot sauce committee part two" align="left" src="http://lh4.ggpht.com/-5QlCfbKPjL8/TubwTy0ufUI/AAAAAAAABCI/2c0_-7GNrh0/hot-sauce-committee-part-two2.jpg?imgmax=800" width="200" height="200" /></p> <p align="justify">Beastie Boys <br />Hot Sauce Committee Part Two</p> <p align="justify">The first non-instrumental Beastie Boys album in seven years is a return to the fun and deceptively genius sound that both rock and hip-hop fans fell in love with so many years ago. Make no mistake about it though, this is a hip-hop album through and through, just one that only the Beasties could produce. The beats are largely synth-based and are equal measures hip-hop reimaginings of 80’s alternative rock and more straightforward contemporary electro. The raps are about what one would expect from the Beastie Boys, mainly simple back and worth verses with clever rhymes about largely unserious topics. There’s nothing revolutionary or anything especially mind blowing here, but it’s a lot of fun to listen to, and that’s ultimately all that you can ask for. <em>Hot Sauce Committee Part Two</em> is an interesting mix between old-school and modern, and it’s one that any rap, rock, or pop fan should find entertaining.</p> <p align="justify"> </p> <p align="justify"><img style="display: inline; float: left" title="oneirology" alt="oneirology" align="left" src="http://lh6.ggpht.com/-wr0LwbkYGgQ/TubwUCsfwCI/AAAAAAAABCM/8m-eWAIoznU/oneirology2.jpg?imgmax=800" width="200" height="200" /></p> <p align="justify">CunninLynguists <br />Oneirology</p> <p align="justify">CunninLynguists are a group that continue to evolve. It’s irrelevant whether their latest album, <em>Oneirology</em>, is as good as <em>A Piece of Strange</em> or Kno’s solo <em>Death is Silent</em>. <em>Oneirology</em> exists as its own entity, in its own dream-like world, and it’s a masterpiece in its own right. Dreams make up the subject matter, and while the storytelling isn’t as clear as it could have been, Kno’s beats are some of the best you’ll ever hear in hip-hop. The beats are atmospheric and dreamy, making for a perfect canvas for rappers Deacon and Notti (and sometimes Kno and guests like Tonedeff and Freddie Gibbs) to work with. It would have been nice to hear Deacon sing more, but it’s hard to complain when just about every song is brilliant. The lyrics are also not afraid to focus on the sexual side of dreaming, and the artists tackle it in an open and mature way. All in all, <em>Oneirology</em> is simply a fantastic record that stands on its own as another landmark album from the CunninLynguists crew, and it belongs in the collection of every hip-hop fan.</p> <p align="justify"> </p> <p align="justify"><img style="display: inline; float: left" title="exmilitary" alt="exmilitary" align="left" src="http://lh3.ggpht.com/-ZCynpoCWCUA/TubwURDzbBI/AAAAAAAABCQ/8IZjdsaW05w/exmilitary2.jpg?imgmax=800" width="200" height="200" /></p> <p align="justify">Death Grips <br />Exmilitary</p> <p align="justify">Weird, aggressive, and as close as hip-hop gets to hardcore punk, Death Grips’ <em>Exmilitary</em> (released digitally for the amazing price of $0) is some of the most original music you’ll find this year. As such, Death Grips have divided listeners and will likely continue to do so. The music is loud and intense, and will simply be too much for even some open-minded rap fans. This is hip-hop that comes from an experimental and noise rock background, although that’s not a surprise considering Zach Hill from Hella plays drums. As is common with noise rock, many of the songs walk a thin line between brilliant and obnoxious, even to the point where the rapping becomes hard to separate from punk-like shouting. There’s something inherently interesting about Death Grips music though. Maybe it’s the crazy samples, maybe it’s the punk attitude, or maybe it’s just great to hear hip-hop taken to such an extreme level of experimentation. Whatever it is, Death Grips have created a raw collection of music that is unlike anything else the genre has to offer, and it needs to be heard.</p> <p align="justify"> </p> <p align="justify"><img style="display: inline; float: left" title="cats and dogs" alt="cats and dogs" align="left" src="http://lh4.ggpht.com/-CXcIU4xzfr8/TubwUeDwa3I/AAAAAAAABCc/MVCYtF2THgQ/cats-and-dogs2.jpg?imgmax=800" width="200" height="200" /></p> <p align="justify">Evidence <br />Cats & Dogs</p> <p align="justify"><em>“I’m on another level / I mean another label”</em> proclaims Evidence on the DJ Premier-produced “You.” He’s right in both cases. <em>Cats & Dogs</em> is the first Evidence album to be released through Atmosphere’s Rhymesayers label, and the Dilated Peoples rapper and self-proclaimed “Mr. Slow Flow” has become one of the best flow-ers in hip-hop today. His rhyming is far more technical the average emcee, and he remains smooth in the process. While Ev has gotten better, part of what makes <em>Cats and Dogs</em> so great are the people around him. The all-star guests all put effort into their parts, and include the aforementioned DJ Premier, Raekwon, Ras Kas, Prodigy from Mobb Deep, Aesop Rock, Alchemist, Slug from Atmosphere, Roc Marciano, and Aloe Blacc. There’s just an insane amount of talent on this record, and Evidence does more than hold his own. He’s a relatable lyricist and a great storyteller, on top of being flat-out ridiculous at times with his “slow flow.” <em>Cats & Dogs</em> is an outstanding hip-hop album, and maybe the best Evidence has been a part of.</p> <p align="justify"> </p> <p align="justify"><img style="display: inline; float: left" title="heavy metal kings" alt="heavy metal kings" align="left" src="http://lh5.ggpht.com/-IJAEG32uCSQ/TubwU0aPTII/AAAAAAAABCo/zbHLCeOvDPk/heavy-metal-kings8.jpg?imgmax=800" width="200" height="200" /></p> <p align="justify">Ill Bill & Vinnie Paz <br />Heavy Metal Kings</p> <p align="justify">The long overdue collaboration album between the artists on Jedi Mind Tricks’ “Heavy Metal Kings” is missing one important member. Stoupe, the former Jedi Mind producer is nowhere to be found, and in his place are a variety of different underground beat makers. Some try (and fail) to replicate Stoupe’s unique sound, but those who go with heavier heard-hitting material that doesn’t resemble a JMT beat are all the better for it. For the most part the beats work, but it’s a good thing that Vinnie Paz and Ill Bill have come into their own as quality emcees. Both are completely over-the-top in a heavy metal sort of way, badass and ridiculous without being gangsta or any other typical hardcore hip-hop personas. Some of the one-liners fall flat, and Vinnie’s “blap bap” sounds are overused, but for the most part both Bill and Paz are exactly what fans of the two expect them to be. <em>Heavy Metal Kings</em> is simply a fun album that is easy to enjoy and hard to take seriously. I also appreciate the heavy metal references, many of which are likely to go over the heads of pure hip-hop listeners, but metalheads who give this one a chance will find that these guys really know their metal history.</p> <p align="justify"> </p> <p align="justify"><img style="display: inline; float: left" title="theft of the commons" alt="theft of the commons" align="left" src="http://lh5.ggpht.com/-F8HDUENFfHw/TubwVFPK6WI/AAAAAAAABC0/ZAPkaq1Llsc/theft-of-the-commons2.jpg?imgmax=800" width="200" height="200" /></p> <p align="justify">No Bird Sing <br />Theft of the Commons</p> <p align="justify">No Bird Sing’s rock influenced instrumentals and distinct rapping may put off some hip-hop fans. That’s a shame because at the center of <em>Theft of the Commons</em> is an incredibly unique record that takes rap-rock in interesting new directions. The “rock” elements here are well implemented and never obnoxious, the latter being a trait of most that mix that rock with hip-hop. Instead No Bird Sing look to rock to add complexity to music. There are tempo changes galore, and as such, changes in energy and emotion that are reminiscence of what’s found in The Roots’ music. Also like The Roots, the lyrics are thought provoking and fit perfectly with the music. A few of the songs do follow the same pattern though, which is especially noticeable after “Night Lights” perfects the building and breaking of tension in No Bird Sing’s sound. That’s a small flaw considering how unique and intense <em>Theft of the Commons</em> is, and it’s easy to recommend to anyone appreciates truly original and powerful hip-hop.</p> <p align="justify"> </p> <p align="justify"><img style="display: inline; float: left" title="spiritual state" alt="spiritual state" align="left" src="http://lh5.ggpht.com/-ftlyBMc2CbM/TubwVf6R9UI/AAAAAAAABC8/vmyQ9CJH-bk/spiritual-state2.jpg?imgmax=800" width="200" height="200" /></p> <p align="justify">Nujabes <br />Spiritual State</p> <p align="justify"><em>Spiritual State</em> is the third full album and first posthumous album from the late Japanese producer Seba Jun. Jun, better known to the world as Nujabes, tragically passed away last year, and Hydeout productions have done a remarkable job of putting the finishing touches on his album. Unlike most posthumous releases, <em>Spiritual State</em> sounds finished, and shows the type of progression one might expect after the artists previous work (in this case <em>Modal Soul</em> and his work on the <em>Samurai Champloo</em> soundtrack). As is usually the case with Nujabes, the music is heavy on jazz samples, and it’s downright gorgeous. Most of the tracks are instrumental, but the usual Nujabes guests show up to deliver verses of varying degrees of quality. Cise Starr is good, Pase Rock is alright, and Substantial is bad, all par for the course. <em>Modal Soul</em> had a few strong guests, and while it’s probably for the best that Hydeout played it safe and kept to established Nujabes features, it’s hard not to wonder if we would have heard more varied verses had Nujabes lived. It does no good to play the guessing game though, and the fact of the matter is that <em>Spiritual State</em> is an absolutely beautiful album that is every bit as good as a third Nujabes album should be. It’s tragic and sometimes hard to listen to knowing that this will be the last we’ll ever heard from this incredible talent, but I wouldn’t discourage anyone from listening to this gem of instrument hip-hop.</p> <p align="justify"> </p> <p align="justify"><img style="display: inline; float: left" title="undun" alt="undun" align="left" src="http://lh3.ggpht.com/-Q7u7suXIY6w/TubwVgDyavI/AAAAAAAABDE/mGQQdGJpHX0/undun11.jpg?imgmax=800" width="200" height="200" /></p> <p align="justify">The Roots <br />Undun</p> <p align="justify">While it lasts, The Roots’ <em>Undun</em> could very well be their biggest achievement as artists. This gorgeous concept album is laced with thought provoking lyrics over beautiful mellow instrumentals, and it progresses in all the right ways. The story is well told and blends seamlessly with the music. It’s the type of thing that listeners may not be even notice at first, but will eventually let sink in. The problem is that the album is over far too early, and doesn’t really have a sense of closer. Maybe that’s intentional, as the album is called <em>Undun</em>, but it ends in a strange way that will likely leave its audience wanting more. After 35 minutes of hip-hop only The Roots could produce, the album stops everything and ends with some brief instrumental tracks. There’s certainly an argument for albums being concise, and there is no filler on <em>Undun</em>, but its lack of closure makes it less powerful than what it could and probably should have been. With that being said, I would recommend <em>Undun</em> to anyone with a passing interest in hip-hop. It’s spectacular while it lasts, and it’s one of the best albums of this legendary group’s career.</p> <p align="justify"> </p> <p align="justify"><img style="display: inline; float: left" title="goblin" alt="goblin" align="left" src="http://lh6.ggpht.com/-TrGr1cTyZx4/TubwV46oClI/AAAAAAAABDM/jhR9Nni6lKo/goblin2.jpg?imgmax=800" width="200" height="200" /></p> <p align="justify">Tyler, The Creator <br />Goblin</p> <p align="justify">“Hype has nothing to do with how an album turns out, and it’s irrelevant whether Tyler or Odd Future lives up to their hype. The fact of the matter is that they’ve become huge doing things their way, and I have to respect that. What matters here, though, is the quality of the music. <em>Goblin</em> is certainly not for everyone, in part because it’s so different from what else is out there, but also because it’s hard to stomach some of its readily apparently flaws. It’s hard to say whether the good and bad of <em>Goblin</em> outweigh each other, but it’s certainly something I feel like should be given a fair chance. There are moments of pure brilliance and creativity here, and I encourage any open minded hip-hop fan to give it a serious listen. I can’t promise that you’ll like it, but I doubt you’ll ever hear anything quite like it.”</p> <p align="justify">You can read my full review of <em>Goblin</em> <a href="http://soundwriter.blogspot.com/2011/11/long-overdue-review-of-goblin.html" target="_blank">right here</a>.</p> Bryce Murphyhttp://www.blogger.com/profile/04012670966156122386noreply@blogger.com0tag:blogger.com,1999:blog-4702726699213504464.post-91152026867023108172011-12-12T22:13:00.001-08:002012-02-01T23:43:24.143-08:002011 HBG- Rock<strong>Sections: <br /></strong>-<a href="http://soundwriter.blogspot.com/2011/12/2011-hbg-introduction.html">Introduction</a> <br />-<a href="http://soundwriter.blogspot.com/2011/12/2011-hbg-rock.html">Rock</a> <br />-<a href="http://soundwriter.blogspot.com/2011/12/2011-hbg-hip-hop.html">Hip Hop</a> <br />-<a href="http://soundwriter.blogspot.com/2011/12/2011-hbg-melodeaththrashsludge-metal.html">Melodeath/Thrash/Sludge Metal</a> <br />-<a href="http://soundwriter.blogspot.com/2011/12/2011-hbg-electronic.html">Electronic</a> <br />-<a href="http://soundwriter.blogspot.com/2011/12/2011-hbg-powersymphonicfolk-metal.html">Power/Symphonic/Folk Metal</a> <br />-<a href="http://soundwriter.blogspot.com/2011/12/2011-hbg-alternativeindie-rock.html">Alternative/Indie Rock</a> <br />-<a href="http://soundwriter.blogspot.com/2011/12/2011-hbg-progressive.html">Progressive</a> <br />-<a href="http://soundwriter.blogspot.com/2011/12/2011-hbg-hardcore.html">Hardcore</a> <br />-<a href="http://soundwriter.blogspot.com/2012/01/2011-hbg-death-metal.html">Death Metal</a> <br />-<a href="http://soundwriter.blogspot.com/2012/01/2011-hbg-black-metal.html">Black Metal</a> <br />-<a href="http://soundwriter.blogspot.com/2012/01/2011-hbg-ambientpost-rock.html">Ambient/Post-Rock</a> <br />-<a href="http://soundwriter.blogspot.com/2012/02/2011-hbg-gothicindustrialdarkwave.html">Gothic/Industrial/Darkwave</a> <br />-Folk- Coming Soon <br />-Doom Metal- Coming Soon <br />-Experimental- Coming Soon <p align="justify"> </p> <p align="justify">Indie rock continues to be the dominating force in rock music, but this section of the guide focuses on the heavier side of rock in 2011. Maybe it should have been called “hard rock,” but I feel like that narrows it down a little too much. Here you’ll find what I believe to be the 10 best punk (non-hardcore), psychedelic, garage, stoner, and general hard rock albums of the past year.</p> <p align="justify"> </p> <p align="justify"><img style="display: inline; float: left" title="kalachakra" alt="kalachakra" align="left" src="http://lh3.ggpht.com/-fRxBPkaO5o4/Tubs6y_t0DI/AAAAAAAABA0/RFhmak02mGo/kalachakra2.jpg?imgmax=800" width="200" height="200" /></p> <p align="justify">Ballo delle Castagne <br />Kalachakra</p> <p align="justify">Italian rock band Ballo delle Castagne know how create atmosphere. Between the haunting Italian vocals, psychedelic instrumentals (including some gothic sounding keyboards), and progressive undertones, <em>Kalachakra</em> is a solid atmospheric rock album. At times Ballo delle Castagne channel their inner Pink Floyd to mixed results, but when the band puts the heavier rock at the forefront everything meshes quite well. “Passioni Diabolichi” might be the highlight, as it’s the most concise track and shows what this band can do when the atmospheric, progressive, and gothic elements combine. The way that the male and female vocals on that track work together is also stunning, and after hearing that it’s hard not to be disappointed by the slower pace and straightforward psychedelic approach of some the later tracks. Even then, much of <em>Kalachakra</em> works, and when it does it’s a very good psychedelic rock album with some serious atmosphere.</p> <p align="justify"> </p> <p align="justify"><img style="display: inline; float: left" title="arabia mountain" alt="arabia mountain" align="left" src="http://lh5.ggpht.com/-yTTJHmj78bE/Tubs7Hvm0bI/AAAAAAAABA4/z2cPPTTbTeM/arabia-mountain2.jpg?imgmax=800" width="200" height="200" /></p> <p align="justify">Black Lips <br />Arabia Mountain</p> <p align="justify">I wrote in my review of the Black Lips’ <em>Good Bad Not Evil</em> that their sound is a difficult one to describe to non-fans. The same statement needs to be echoed for <em>Arabia Mountain</em>, another goofy garage rock album that is largely a quirky take on lo-fi rock music. Established fans will likely love it, while even the most open-minded newcomers might need a few listens to digest how the odd vocals mix with the laid back instrumentals. With that being said, the music is deceptively catchy, and <em>Arabia Mountain</em> stands out as music directly influenced by some of the bands modern indie artists are indebted to, while still having that sloppy sound that most “hipsters” won’t be able to get behind. Instead, <em>Arabia Mountain</em> is a quirky garage album for rock fans willing to embrace something a little different. Anyone who fits that description should give it a listen.</p> <p align="justify"> </p> <p align="justify"><img style="display: inline; float: left" title="going out in style" alt="going out in style" align="left" src="http://lh6.ggpht.com/-pk2_DiNtrEU/Tubs7TheriI/AAAAAAAABA8/UQQx8axGDbk/going-out-in-style2.jpg?imgmax=800" width="200" height="200" /></p> <p align="justify">Dropkick Murphys <br />Going Out in Style</p> <p align="justify">If you’ve heard Dropkick Murphys before, chances are you know what to expect from <em>Going Out in Style</em>. For those who haven’t, Dropkick Murphys play an aggressive yet mostly accessible brand of Celtic punk rock. They embrace every stereotype of Boston and Ireland, and go over-the-top without becoming corny. Like with their past albums, the music is catchy, fun, and has a hard edge to it, and they vary things up just enough to keep their sound fresh throughout. At this point, Dropkick Murphys have their sound, and they play it better than anyone else. There are no surprises on <em>Going Out in Style</em>, but it’s hard not to appreciate some quality Celtic punk.</p> <p align="justify"> </p> <p align="justify"><img style="display: inline; float: left" title="center of the cyclone" alt="center of the cyclone" align="left" src="http://lh5.ggpht.com/-Q8NWH8nt-sw/Tubs7gcYxxI/AAAAAAAABBA/xJL3CGWjXKg/center-of-the-cyclone2.jpg?imgmax=800" width="200" height="198" /></p> <p align="justify">The :Egocentrics <br />Center of the Cyclone</p> <p align="justify">If you’ve never heard an :Egocentrics albums before, chances are you’ll expect a rough baritone vocalist to start singing at any minute. It never happens, and while it’s rare to see instrumental music work in a structure that calls for a vocalist, it’s probably for the best here. The riffs on <em>Center of the Cyclone</em> are raw and heavy, pure stoner rock influenced by Kyuss, and they build into more abstract and melodic sections before the stoner riffs return. The :Egocentrics have their formula, as this structure doesn’t change a whole lot on the album, but it really doesn’t need to. The riffs are simply great and are strong enough to be the center point, and the sections they build to are interesting and just varied enough. You know they’re coming, but you never know what exactly they’re going to be.</p> <p align="justify"> </p> <p align="justify"><img style="display: inline; float: left" title="arrows and anchors" alt="arrows and anchors" align="left" src="http://lh3.ggpht.com/-yn-0s-PPMa4/Tubs7ux6PpI/AAAAAAAABBE/hNKTh30986A/arrows-and-anchors2.jpg?imgmax=800" width="200" height="200" /></p> <p align="justify">Fair to Midland <br />Arrows and Anchors</p> <p align="justify">Best known for their minor radio rock hit “Dance of the Manatee,” Fair to Midland have returned with what may be the best hard rock album of 2011. Their style might be best described as a more melodic (and at times heavier) System of a Down, but there’s really a lot more to Fair to Midland than that. <em>Arrows and Anchors</em> is an incredibly diverse album that sees the band seamlessly blending legitimate heavy metal with progressive rock, acoustic rock, and just about every conceivable form of contemporary alternative and hard rock. All of it mixes to from a unique sound, and one that is much less of a mess than their first album. Throughout the constant style changes, Fair to Midland never lose the coherency of their music. It all fits, and while you never know what’s coming next, you learn to embrace the unpredictably, trusting that the band will somehow make it work.</p> <p align="justify"> </p> <p align="justify"><img style="display: inline; float: left" title="skying" alt="skying" align="left" src="http://lh5.ggpht.com/-F9QOUZEAWC4/Tubs77InjGI/AAAAAAAABBM/5cF1rCHAwh4/skying2.jpg?imgmax=800" width="200" height="200" />The Horrors <br />Skying</p> <p align="justify">It’s great to hear contemporary post-punk that embraces the past without trying to relive it. <em>Skying</em> is a post-punk album clearly influenced by the psychedelic rock of the 70’s and 80’s, but it’s also the type of album that could only be released in 2011. There are modern indie and shoegaze influences, creating a nice mix of accessible trippy rock that fuses just about every prominent style of psychedelic-influenced music since the 70’s. That’s not easy to do, and The Horrors do it quite well. The highlight has to be their vocalist, who does a nice David Bowie impression without sounding like a rip-off. That’s really what makes <em>Skying</em> great, not just in terms of vocals, but that the whole album borrows from their influences without outright copying them. This is distinctly The Horrors.</p> <p align="justify"> </p> <p align="justify"><img style="display: inline; float: left" title="conditions of my parole" alt="conditions of my parole" align="left" src="http://lh5.ggpht.com/-aWXAtISiVko/Tubs8PX64zI/AAAAAAAABBU/wmFgSU-0-OU/conditions-of-my-parole5.jpg?imgmax=800" width="200" height="200" /></p> <p align="justify">Puscifer <br />Conditions of My Parole</p> <p align="justify">Maynard James Keenan (Tool, A Perfect Circle)’s second album under the Puscifer name is considerably less experimental and perverted than the first. While I liked <em>V is for Vagina</em> more than most others, the change isn’t necessarily a bad thing. <em>Conditions of My Parole</em> is more of a straight-up rock album with some interesting twists and enough of Maynard’s humor to make it worthwhile to Tool and A Perfect Circle fans. This is actually a pretty solid release that falls somewhere in between a <em>V for Vagina</em> follow up and a new A Perfect Circle record. There are some quality female vocals here as well, making for a nice contrast to Maynard’s rough and distinct voice. It’s definitely for more established fans of Keenan, but there’s a reason this man is so well liked among rock fans.</p> <p align="justify"> </p> <p align="justify"><img style="display: inline; float: left" title="Digipak_SaharaSurfers_SonarPilot_ohne.indd" alt="Digipak_SaharaSurfers_SonarPilot_ohne.indd" align="left" src="http://lh6.ggpht.com/-4AIBcYkcJCk/Tubs8UBG4uI/AAAAAAAABBg/buJTtWJS_vk/sonar-pilot3.jpg?imgmax=800" width="200" height="200" /></p> <p align="justify">Sahara Surfers <br />Sonar Pilot</p> <p align="justify">The second album from female-fronted stoner rock band Sahara Surfers improves on the first in just about every way. The vocals are slightly stronger, albeit still mostly devoid of range, and the music is far more concise. If <em>Spacetrip on a Paper Plane</em> showed promise, then <em>Sonar Pilot</em> is where the band really puts it together. The riffs still pack a punch, ranging from bluesy melody to heavy crunches, and it fits together well. The female vocals are a great touch, even if they are mostly lower in order to fit with the music. And while the vocals may seem like an odd fit to some, the music here is really pretty accessible. If bands like Down and Clutch can attract big audiences, there’s no reason for rock fans to pass up Sahara Surfers. <em>Sonar Pilot</em> is an exceptional album, and it’s an easy recommendation for fans of hard rock.</p> <p align="justify"> </p> <p align="justify"><img style="display: inline; float: left" title="growing over" alt="growing over" align="left" src="http://lh3.ggpht.com/-p-zYqNC8zvg/Tubs8u_-mOI/AAAAAAAABBs/zznmw_XguYc/growing-over2.jpg?imgmax=800" width="200" height="200" /></p> <p align="justify">Sex Church <br />Growing Over</p> <p align="justify">Sex Church’s <em>Growing Over</em> is a record rooted in the past. The sound is pure 70’s garage rock and 80’s lo-fi, and that’s definitely not a bad thing. This fuzzy hard rock album nails the rare balance of noise and melody that few aside from Sonic Youth have been able to do successfully. Much like Sonic Youth, the music is harsh and perverse, but never to the point of inaudibility. For all it’s lo-fi sludge, <em>Growing Over</em> is a listenable record, and one that any rock fan looking for more original lo-fi, post-punk, and/or garage rock album should check out.</p> <p align="justify"> </p> <p align="justify"><img style="display: inline; float: left" title="cover" alt="cover" align="left" src="http://lh5.ggpht.com/-SRjvQWdeUIk/Tubs8zrXCwI/AAAAAAAABB0/y3ngzp3BjKI/cover3.jpg?imgmax=800" width="200" height="200" /></p> <p align="justify">Witch Mountain <br />South of Salem</p> <p align="justify">Just a few weeks ago I wrote about <em>South of Salem</em> as part of Sound Writer’s “Free Album of the Week(end)” feature. I wrote that this great album had just missed a spot on the Buyer’s Guide, and well, I changed my mind. After another listen, <em>South of Salem</em> is far too good of an album not to make the list. For those who missed that feature, Witch Mountain are a psychedelic rock and doom metal hybrid from Portland, Oregon. <em>South of Salem</em> is their second full length album, released a massive ten years after the first. Their sound is unique, while still maintaining somewhat of a retro vibe that should appeal to both fans of classic psychedelic rock and 90’s doom metal, and if you’re a fan of either I highly recommend checking this one out. The vocals really stand out, in part because they trade the usual one-note sludge signer for a varied female vocalist that isn’t afraid to test her range. It makes for a nice contrast to the sludgy instrumentals, and makes me think of what Jefferson Airplane would sound like if they played stoner rock.</p> Bryce Murphyhttp://www.blogger.com/profile/04012670966156122386noreply@blogger.com0tag:blogger.com,1999:blog-4702726699213504464.post-61455126528526781452011-12-11T20:51:00.001-08:002012-02-01T23:45:47.763-08:002011 HBG- Introduction<p align="justify">After another year of listening to far more music than any sane person probably should, it’s time for Sound Writer’s 2011 Holiday Buyer’s Guide. I started this feature in 2007, back when I wrote for a different blog, and I brought it over to Sound Writer last year.</p> <p align="justify">Maybe “Holiday Buyer’s Guide” isn’t an accurate term for this anymore, as there really isn’t any correlation with holiday shopping other than it being that time of the year. What this “guide” really has become is a chance for me to look back on the past year and present what I think are the best albums of 2011 in an organized list. The sorting is by genre, and each genre or section will have 10 albums in it. All of these albums scored at least a 3 out of 4 from me, and many 3’s had to be cut in order to get this list down to 15 sections of 10 albums.</p> <p align="justify">Yes, there will be 15 sections in the 2011 guide, up from 12 last year. They range from rock to hip-hop to electronic to various types of metal, and plenty more. Below you’ll find the schedule for Sound Writer’s 2011 HBG, including all of this year’s sections and dates or when they be posted.</p> <p align="justify">As always, if you have any questions or comments I'd love to hear from you. You can reach me in a number of different ways: leaving a comment on the blog, “liking” Sound Writer on <a href="http://www.facebook.com/pages/Sound-Writer/180811535291002" target="_blank">Facebook</a> and sending me a message there, or by e-mailing me at <a href="mailto:soundwriter1@gmail.com">soundwriter1@gmail.com</a>. Thanks for reading, and I hope you enjoy the guide!</p> <p align="left"><strong>2011 HBG Schedule:</strong></p> <p><a href="http://soundwriter.blogspot.com/2011/12/2011-hbg-rock.html">Rock</a> <br /><a href="http://soundwriter.blogspot.com/2011/12/2011-hbg-hip-hop.html">Hip Hop</a><strong> <br /></strong><a href="http://soundwriter.blogspot.com/2011/12/2011-hbg-melodeaththrashsludge-metal.html">Melodeath/Thrash/Sludge Metal</a> <br /><a href="http://soundwriter.blogspot.com/2011/12/2011-hbg-electronic.html">Electronic</a> <br /><a href="http://soundwriter.blogspot.com/2011/12/2011-hbg-powersymphonicfolk-metal.html">Power/Symphonic/Folk Metal</a> <br /><a href="http://soundwriter.blogspot.com/2011/12/2011-hbg-alternativeindie-rock.html">Alternative/Indie Rock</a> <br /><a href="http://soundwriter.blogspot.com/2011/12/2011-hbg-progressive.html">Progressive</a> <br /><a href="http://soundwriter.blogspot.com/2011/12/2011-hbg-hardcore.html">Hardcore</a> <br /><a href="http://soundwriter.blogspot.com/2012/01/2011-hbg-death-metal.html">Death Metal</a> <br /><a href="http://soundwriter.blogspot.com/2012/01/2011-hbg-black-metal.html">Black Metal</a> <br /><a href="http://soundwriter.blogspot.com/2012/01/2011-hbg-ambientpost-rock.html">Ambient/Post-Rock</a> <br /><a href="http://soundwriter.blogspot.com/2012/02/2011-hbg-gothicindustrialdarkwave.html">Gothic/Industrial/Darkwave</a> <br /><strong>Folk</strong>- Coming Coming Soon <br /><strong>Doom Metal</strong>- Coming Soon <br /><strong>Experimental</strong>- Coming Soon</p> Bryce Murphyhttp://www.blogger.com/profile/04012670966156122386noreply@blogger.com0tag:blogger.com,1999:blog-4702726699213504464.post-82548502632418877372011-12-04T23:25:00.001-08:002011-12-04T23:25:49.872-08:00Free Album of the Week(end) #5<p>This is the second straight week we have a great free album that just barely missed a spot on my Holiday Buyer’s Guide. Witch Mountain, a psychedelic doom metal band from Portland, Oregon, released their second full length album earlier in 2011, a massive ten years after the first. Their sound is unique, while still maintaining somewhat of a retro vibe that should appeal to both fans of classic psychedelic rock and 90’s doom metal. If you’re a fan of either, I highly recommend checking it out. You can download <em>South of Salem</em> at whatever price you desire <a href="http://www.metal-archives.com/bands/Witch_Mountain/10934" target="_blank">right here</a>.</p> Bryce Murphyhttp://www.blogger.com/profile/04012670966156122386noreply@blogger.com0tag:blogger.com,1999:blog-4702726699213504464.post-27127236259121569462011-11-27T17:02:00.001-08:002011-11-27T17:02:33.462-08:00Free Album of the Week(end) #4<p align="justify">I’m hard at work on this year’s buyer’s guide, so this will be a quick one.</p> <p align="justify">This week’s album is by an atmospheric black metal band called Embers. That style of black metal has become commonplace in the underground metal scene, but Embers stand out with a raw, almost punk-ish feel to their sound. This is incredibly strong for a debut album, and while it just missed landing a spot on my 2011 Holiday Buyer’s Guide (which will be posted in the very near future), fans of extreme metal should give this one a shot. If you’re in the mood for some free original black metal, you can listen to <em>Shadows</em> by Embers <a href="http://embers.bandcamp.com/album/shadows" target="_blank">right here</a>.</p> Bryce Murphyhttp://www.blogger.com/profile/04012670966156122386noreply@blogger.com0tag:blogger.com,1999:blog-4702726699213504464.post-52454820192631644872011-11-19T21:44:00.001-08:002011-11-19T21:44:02.834-08:00Free Album of the Week(end) #3<p align="justify">Hardcore punk has become one of my recent musical obsessions, and one of the absolute best albums that I’ve heard in that genre is pg 99’s <em>Document #8</em>. Originally released in 2001, this brilliant screamo record is now available to download at whatever price you want to pay. Even if you’re not a fan of hardcore or screamo, this is the type of release that could change your mind. Point being, I recommend that anyone with an open mind towards heavy music give it a listen <a href="http://roboticempire.bandcamp.com/album/pg-99-document-8" target="_blank">here</a>.</p> Bryce Murphyhttp://www.blogger.com/profile/04012670966156122386noreply@blogger.com0tag:blogger.com,1999:blog-4702726699213504464.post-26315657313533705232011-11-12T23:16:00.001-08:002011-11-12T23:16:29.291-08:00Free Album of the Week(end) #2<p align="justify">This week(end)’s album comes to us via Neurotangent, an ambient electronic project by a fellow student at The Evergreen State College. His album/demo is called <em>First Tangent</em>, and it’s pretty impressive for a first release, nevertheless one recorded by a student on an outdated laptop.</p> <p align="justify">This is clearly more of a starting point than anything else, but I like Neurotangent’s foundation for a couple of reasons. Firstly, the sounds here come from a wide variety of influences. While the mood of the album is certainly mellow, there are quite of few different styles of electronic music being merged, and I appreciate producers who can incorporate industrial sounds in more relaxed pieces of music. The other aspect of <em>First Tangent</em> that impresses me is the way the that the beats build. Far too often amateur producers either repeat the same sounds until they become boring and repetitive, or they add new sounds before tension can be created. The latter is especially common among ambient producer, but Neurotangent avoids both traps.</p> <p align="justify">Again, it’s a starting point, but I like what I hear. It’s rare that a producer has interesting beats that change and evolve at just the right times, and I expect great things from Neurotangent in the future. Fans of ambient/electronic music can download <em>First Tangent</em> <a href="http://neurotangent.bandcamp.com/album/first-tangent" target="_blank">right here</a></p> Bryce Murphyhttp://www.blogger.com/profile/04012670966156122386noreply@blogger.com0tag:blogger.com,1999:blog-4702726699213504464.post-26474448140221181872011-11-05T23:30:00.001-07:002011-11-05T23:38:18.979-07:00A long overdue review of “Goblin”<p align="justify">Looking back, I think this review was one of the reasons I stopped posting for so long. It was one of the most challenging I've ever had to write, as there was a period initially where I was more divided than I think I've ever been on an album. I ended up forming a stronger opinion, and giving it a recommendation, but writing this was still an obstacle that I wasn't able to overcome. After ignoring my initial draft for months, I've gone back and edited it with a clearer mind, and I'm now posting it. Hopefully there’s still someone out there who is interested in my opinion of this one.</p> <p align="justify"><strong>Tyler, The Creator- Goblin</strong> (3/4)</p> <p align="justify"><img style="background-image: none; border-bottom: 0px; border-left: 0px; padding-left: 0px; padding-right: 0px; display: inline; border-top: 0px; border-right: 0px; padding-top: 0px" title="goblin2" border="0" alt="goblin2" src="http://lh5.ggpht.com/-jFCwFUMMyzk/TrYpjRyR_wI/AAAAAAAABAs/BPZLqGlpx7M/goblin2%25255B3%25255D.jpg?imgmax=800" width="244" height="244" /></p> <p align="justify">The first time I listened to <em>Goblin</em>, the second solo album and first paid release from Odd Future’s Tyler, The Creator, I had honestly no idea what to think of it. I had heard <em>Bastard</em>, Tyler’s near cult-classic of a first album, and had a pretty similar reaction- a mix of intrigue, awe, and distaste.</p> <p align="justify"><em>Goblin</em> picks up right where <em>Bastard</em>’s story left off, with Tyler in a therapy session. The dialogue between Tyler and his therapist was used interestingly on <em>Bastard</em>, but <em>Goblin</em> greatly expands on the concept. There is some real depth to the conversations, and even throughout the ridiculously over-the-top lyrics about rape, murder, and the occult that soon follow, Tyler shows himself as a relatable human being right from the start. The setting of the therapy session is never abandoned, and it’s interesting to hear Dr. TC or one of Tyler’s many alter-egos argue with him throughout the album. It’s clear that Eminem is an influence, and not since his early material has this sort of multiple personality rap worked so well.</p> <p align="justify">There is also a defined narrative here, and many of Tyler’s fellow Odd Future members appear. Other than Hodgy Beats on “Sandwitches” and Frank Ocean on “She,” however, none the guest spots add much past advancing the story. This is especially true for a good 15 minute stretch towards the end of the album, where the listener is treated to such tracks as “Boppin’ Bitch” and “Bitch Suck Dick.” These tracks are intentionally bad, as evidenced by the inclusion of non-musical Odd Future members Taco Bennett and Jasper Dolphin (seriously), but that doesn’t make up for them being, you know, bad. <em>Goblin</em> is a fairly lengthy album, and even though it ends perfectly with “Golden,” a heated back-and-forth between Tyler and his therapist, I suspect that listeners who are not obliged to finish the album may simply turn it off part way through. That’s unfortunate, because for all of its flaws, there really is a great album here, or a at least part of one. Much of <em>Goblin</em>’s first half is downright brilliant, merging hardcore flow and lyrics with unique borderline drone beats, and the aforementioned humanity often lacking from hardcore rap albums.</p> <p align="justify">“Yonkers” may be the song that everyone has heard, but there’s more her than just that track, and honestly its quality is worth noting. Very rarely does a hip-hop single with such a unique beat become big, and just as rarely does one with strong lyrics become a hit as well. “Yonkers” has both, and they come together to form what is truly one of the best songs of 2011. Again though, that’s no the only gem here. “Nightmare,” a personal reflection of what’s changed in Tyler’s life since his last record, is far more powerful and shocking than any of the “shock value” tracks, and even the pure shock values tracks have some merit. “Tron Cat” revels in its immaturity, but it’s entertaining throughout, and fits surprisingly well in the middle of what could be described as a very personal album. The way that Tyler merges the shock value with more personal moments is actually pretty incredible, and again, a skill that made the hip-hop world embrace Eminem just over a decade ago.</p> <p align="justify">Hype has nothing to do with how an album turns out, and it’s irrelevant whether Tyler or Odd Future lives up to their hype. The fact of the matter is that they’ve become huge doing things their way, and I have to respect that. What matters here, though, is the quality of the music. <em>Goblin</em> is certainly not for everyone, in part because it’s so different from what else is out there, but also because it’s hard to stomach some of its readily apparently flaws. It’s hard to say whether the good and bad of <em>Goblin</em> outweigh each other, but it’s certainly something I feel like should be given a fair chance. There are moments of pure brilliance and creativity here, and I encourage any open minded hip-hop fan to give it a serious listen. I can’t promise that you’ll like it, but I doubt you’ll ever hear anything quite like it.</p> Bryce Murphyhttp://www.blogger.com/profile/04012670966156122386noreply@blogger.com0tag:blogger.com,1999:blog-4702726699213504464.post-33950499586220832752011-11-05T00:44:00.001-07:002011-11-05T00:44:38.689-07:00Free Album of the Week(end) #1<p align="justify">In a new feature for Sound Writer, I’ll be linking every Friday or Saturday to a quality free or name-your-price album, all available 100% legally. <br /> <br />Most of the time I’ll be linking to a lesser known artist that deserves some more exposure, but I’ll start things off with a big name for the first week. Immortal Technique, one of the artists that helped get me into hip-hop back in high school, released his latest album this week. It’s called <em>The Martyr</em>, and it’s available to download free of charge <a href="http://www.viperrecords.com/mart/Immortal%20Technique%20-%20The%20Martyr.zip" target="_blank">right here</a>.</p> <p align="justify">In terms of quality, I’d compare it favorably to <em>The 3rd World</em>, Technique’s collaboration album with DJ Green Lantern back in 2008. That is to say it’s a solid collection of political and hardcore hip-hop tracks. It’s nowhere near his <em>Revolutionary</em> albums, but it really doesn’t need to be. There are guest spots from Vinnie Paz, Brother Ali, Chuck D, and plenty of others, and Immortal Technique himself is still in fine form. I’d recommend it, even as a paid album, and the lack of a price tag makes it pretty much essential.</p> Bryce Murphyhttp://www.blogger.com/profile/04012670966156122386noreply@blogger.com0tag:blogger.com,1999:blog-4702726699213504464.post-91918004798921041872011-08-04T16:37:00.001-07:002011-08-04T16:37:50.429-07:00Cormorant- Metazoa…for free!<p>One of my favorite metal albums of the last decade is free for a limited time. If you like metal, do yourself a give this album a listen.</p> <p><a href="http://www.metalsucks.net/2011/08/04/download-cormorants-metazoa-for-the-low-low-price-of-free/">http://www.metalsucks.net/2011/08/04/download-cormorants-metazoa-for-the-low-low-price-of-free/</a></p> Bryce Murphyhttp://www.blogger.com/profile/04012670966156122386noreply@blogger.com0tag:blogger.com,1999:blog-4702726699213504464.post-91426116132732206702011-05-13T09:54:00.001-07:002011-05-13T09:54:47.648-07:00Sound Writer on iTunes<p>The good folks at Apple have concluded that our podcast is not an hour long discussion of plans to destroy their corporation, and have subsequently approved the Sound Writer podcast. You can download the first episode and subscribe to our future endeavors through this link (<a title="http://itunes.apple.com/us/podcast/sound-writer/id436960176" href="http://itunes.apple.com/us/podcast/sound-writer/id436960176">http://itunes.apple.com/us/podcast/sound-writer/id436960176</a>),</p> <p>If you’re like me and don’t use iTunes all that often, we also have an old fashion RSS feed that you can subscribe to (<a title="http://feeds.feedburner.com/SoundWriter" href="http://feeds.feedburner.com/SoundWriter">http://feeds.feedburner.com/SoundWriter</a>).</p> <p>And make sure to give us some feedback on the first episode. You can do that by leaving a comment, voting in our poll, posting on our Facebook (<a title="http://www.facebook.com/pages/Sound-Writer/180811535291002" href="http://www.facebook.com/pages/Sound-Writer/180811535291002">http://www.facebook.com/pages/Sound-Writer/180811535291002</a>), or sending an e-mail to <a href="mailto:soundwriter1@gmail.com">soundwriter1@gmail.com</a>.</p> <p>Thanks to everyone for your support, and especially for Matt, Noah, and Tad for taking time out of their schedule to appear on the podcast. </p> Bryce Murphyhttp://www.blogger.com/profile/04012670966156122386noreply@blogger.com0tag:blogger.com,1999:blog-4702726699213504464.post-5568897192436871222011-05-09T22:26:00.001-07:002011-05-10T00:46:33.802-07:00Sound Writer Podcast 5-9-11For the first ever Sound Writer podcast, we introduce our panelists, mourn the passing of Gerard Smith, and discuss new releases from Odd Future, Fleet Foxes, Blue Sky Black Death, and others.<br />
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<a href="http://ia600606.us.archive.org/30/items/SoundWriterPodcast/Podcast5_9_11.mp3" title="http://ia600606.us.archive.org/30/items/SoundWriterPodcast/Podcast5_9_11.mp3">http://ia600606.us.archive.org/30/items/SoundWriterPodcast/Podcast5_9_11.mp3</a><br />
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You can listen to Noah’s radio show Sunday’s at 4 AM PST (7 AM EST) at <a href="http://wobc.org/" target="_blank" title="http://wobc.org/">http://wobc.org/</a><br />
You can listen to Tad’s radio show Sunday’s at 12 AM PST (3 AM EST) at <a href="http://uclaradio.com/" target="_blank" title="http://uclaradio.com/">http://uclaradio.com/</a><br />
You can listen to the station Matt assists at, KEXP, at <a href="http://kexp.org/Default.aspx" target="_blank" title="http://kexp.org/Default.aspx">http://kexp.org/Default.aspx</a><br />
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Here are some songs or tracks from albums mentioned in this week’s podcast:<br />
IAM- Libère Mon Imagination (<a href="http://www.youtube.com/watch?v=Q-cks-daWHY" target="_blank">http://www.youtube.com/watch?v=Q-cks-daWHY</a>) <br />
Tyler, the Creator- Yonkers (<a href="http://www.youtube.com/watch?v=XSbZidsgMfw" target="_blank">http://www.youtube.com/watch?v=XSbZidsgMfw</a> <br />
Beastie Boys- Make Some Noise (<a href="http://www.youtube.com/watch?v=WdgLMslbDuY" target="_blank">http://www.youtube.com/watch?v=WdgLMslbDuY</a> <br />
Rhea’s Obsession- Nightshade (<a href="http://www.youtube.com/watch?v=RIJMRy2Qm3w" target="_blank">http://www.youtube.com/watch?v=RIJMRy2Qm3w</a>) <br />
Blue Sky Black Death- Sleeping Children are Still Flying (<a href="http://www.youtube.com/watch?v=T4qICd3ldLU" target="_blank">http://www.youtube.com/watch?v=T4qICd3ldLU</a>) <br />
CunninLynguists- Beautiful Girl (<a href="http://www.youtube.com/watch?v=dKanlj4tRE4" target="_blank">http://www.youtube.com/watch?v=dKanlj4tRE4</a> <br />
Cybo- Stripped (<a href="http://soundcloud.com/djcybo/stripped" target="_blank">http://soundcloud.com/djcybo/stripped</a>) <br />
I Monster- Heaven (<a href="http://www.youtube.com/watch?v=0NGMBP0Mk4I" target="_blank">http://www.youtube.com/watch?v=0NGMBP0Mk4I</a>)Bryce Murphyhttp://www.blogger.com/profile/04012670966156122386noreply@blogger.com0tag:blogger.com,1999:blog-4702726699213504464.post-34891010308767172242011-05-01T01:47:00.001-07:002011-05-01T01:49:43.577-07:00More Reviews- Hip-Hop<p align="justify">There will be plenty more coming, including some for metal and alternative. and electronic albums,</p> <p align="justify"> </p> <p align="justify"><strong>Atmosphere- The Family Sign</strong> (3/4)</p> <p align="justify"><img style="background-image: none; border-bottom: 0px; border-left: 0px; padding-left: 0px; padding-right: 0px; display: inline; border-top: 0px; border-right: 0px; padding-top: 0px" title="the-family-sign2" border="0" alt="the-family-sign2" src="http://lh6.ggpht.com/_te7qpMDQ3P8/Tb0eF0oJbRI/AAAAAAAABAY/dhlADByob1Y/the-family-sign2%5B3%5D.jpg?imgmax=800" width="244" height="244" /></p> <p align="justify"><em>The Family Sign</em> is a polarizing album, and one of the hardest albums I’ve had to grade this year. On one hand, <em>The Family Sign</em> contains some of Atmosphere’s best work, especially at the beginning and end of the record. It starts out with “My Key,” a remarkably beautiful tribute to the late Eyedea, and then proceeds to two equally powerful tracks in “The Last to Say” and “Became.” The lead single “Just for Show” follows, and while it may not have the power of the first three tracks, it’s an exceptionally well written song with a great lively beat. At this point, Slug’s lyrics and Ant’s beats (now featuring a full band to match their live show) are the best Atmosphere has ever been. That makes it all the more disappointing when the filler starts to set in. Slug’s incredible storytelling and passionate delivery descends into lazy and overly simply rhymes for a few tracks, and the beats start to become predictable and forced. While the album does have a few solid songs in the middle, it doesn’t really find its stride again until the third from last song. That’s when the jaw-droopingly beautiful side of Atmosphere shows up again, especially on the indescribably powerful “Something So” and closer “My Notes.” It would be easy to call <em>The Family Sign</em> a disappointment, just as it would be easy to call it one of the best albums of the year. The truth is, there’s a little of both here, but the former prevents this dark and deeply personal album from reaching the level of <em>When Life Gives You Lemons You Paint That Shit Gold</em> or <em>God Loves Ugly</em>.</p> <p align="justify"> </p> <p align="justify"><strong>Blueprint- Adventures in Counter-Culture</strong> (2/4)</p> <p align="justify"><img style="background-image: none; border-bottom: 0px; border-left: 0px; padding-left: 0px; padding-right: 0px; display: inline; border-top: 0px; border-right: 0px; padding-top: 0px" title="adventures-in-counter-culture2" border="0" alt="adventures-in-counter-culture2" src="http://lh5.ggpht.com/_te7qpMDQ3P8/Tb0eG4hEXZI/AAAAAAAABAc/JjXbC_i4LxI/adventures-in-counter-culture2%5B3%5D.jpg?imgmax=800" width="244" height="244" /></p> <p align="justify"><em>Adventures in Counter-Culture</em> is a puzzling album to say the least. Blueprint is a talented emcee, but he does a surprisingly poor job of showing it here, instead going for a type of experimental hip-hop that doesn’t suit him well at all. The beats are mostly electronic-influenced, and while a few might work better with an emcee who has more experience rapping over electro beats, most are either boring or obnoxious. A few of the songs contain no rapping whatsoever, but just singing (some heavily auto-tuned, some not), and those are unfortunately all awful. Blueprint works best from the element we heard in his work with RJD2, rapping over trip-hop and traditional hip-hop beats with a steady flow and insightful lyrics. When he resorts to singing and rapping one or two word lines over electro beats, Blueprint is completely out of his element, and it comes across as forced. <em>Adventures in Counter-Culture</em> contains moments of vintage Blueprint, but only those moments save it from a being a complete disaster. Far too much of the album just doesn’t work.</p> <p align="justify"> </p> <p align="justify"><strong>Raekwon- Shaolin vs. Wu-Tang</strong> (2.5/4)</p> <p align="justify"><img style="background-image: none; border-bottom: 0px; border-left: 0px; padding-left: 0px; padding-right: 0px; display: inline; border-top: 0px; border-right: 0px; padding-top: 0px" title="shaolin-vs-wutang2" border="0" alt="shaolin-vs-wutang2" src="http://lh5.ggpht.com/_te7qpMDQ3P8/Tb0eHnDh_kI/AAAAAAAABAg/xDDvn72QOb4/shaolin-vs-wutang2%5B3%5D.jpg?imgmax=800" width="244" height="244" /></p> <p align="justify">If the point of <em>Shaolin vs. Wu-Tang</em> was to prove that Raekwon can rap without the RZA, it achieves the exact opposite of what it intended. The beats aren’t done by the RZA, but instead by a variety of producers trying way too hard to sound like RZA. It would be one thing if Rae would flow over a different type of beat, but poor RZA knockoffs just don’t cut it. Aside from the production, Raekwon is on his game, but much like the far better <em>Only Built for Cuban Linx II</em> it’s the guests that stand out. This time around the guest spots are a mixed bag, mostly being either incredible (Black Thought on “Masters of Our Fate”) or downright terrible (Rick Ross on “Molasses”). Much like Talib Kweli’s <em>Gutter Rainbows</em> from earlier in the year, <em>Shaolin vs. Wu-Tang</em>’s mediocrity may only farther prove that Rae is a great emcee, as even with the disappointing beats, obnoxious hooks, and a few awful guest spots, there are enough solid verses from Raekwon himself to make this album listenable.</p> <p align="justify"> </p> <p align="justify"><strong>Sims- Bad Time Zoo</strong> (2.5/4)</p> <p align="justify"><img style="background-image: none; border-bottom: 0px; border-left: 0px; padding-left: 0px; padding-right: 0px; display: inline; border-top: 0px; border-right: 0px; padding-top: 0px" title="bad-time-zoo2" border="0" alt="bad-time-zoo2" src="http://lh5.ggpht.com/_te7qpMDQ3P8/Tb0eIVIOXvI/AAAAAAAABAk/F2GWE8Int8Y/bad-time-zoo2%5B3%5D.jpg?imgmax=800" width="244" height="244" /></p> <p align="justify">Every hip-hop group needs a straight man. Wu-Tang Clan had Inspectah Deck to hold things together and allow more famous emcees like Ol Dirty and Ghostface to experiment. N.W.A. had the always consistent Ice Cube starting most songs off, and even Cypress Hill wouldn’t have been as good if the admittedly much better B-Real took all of the verses. Sometimes you just need a consistent rapper to take a verse and build to the more unique ones. In Doomtree, Sims is the Inspectah Deck, Ice Cube, and Sen Dogg. Dessa has her unique rapped-sung verses, P.O.S. has an aggressive punk edge, and Cecil Otter has one of the most distinct voices in underground hip-hop. Often times, Sims delivers that solid opening verse to get things going, and lead into the more memorable emcees. Much like Deck and Sen Dogg, however, Sims is somewhat disposable as a solo artist. When he gets two to three verses per song, as he does on <em>Bad Time Zoo</em>, things can get a little mundane. Even on his own album, Sims is far outshined by P.O.S. (who has the only guest verse on the entire record) to the point where after three listens I can remember more about P.O.S.’s one than the 30 or so Sims verses. All things considered, <em>Bad Time Zoo</em> is not a bad album. Sims is a solid lyricist, his flow is fine, and the production from Lazorbeak and other Doomtree regulars is quite good. It’s just that there are more memorable hip-hop albums out there, and it’s hard to recommend something so ordinary to anyone other than the underground faithful.</p> <p align="justify"> </p> <p align="justify"><strong>Wiz Khalifa- Rolling Papers</strong> (1/4)</p> <p align="justify"><img style="background-image: none; border-bottom: 0px; border-left: 0px; padding-left: 0px; padding-right: 0px; display: inline; border-top: 0px; border-right: 0px; padding-top: 0px" title="rolling-papers2" border="0" alt="rolling-papers2" src="http://lh5.ggpht.com/_te7qpMDQ3P8/Tb0eIxF4JvI/AAAAAAAABAo/ljTXMsUZbbM/rolling-papers2%5B3%5D.jpg?imgmax=800" width="244" height="244" /></p> <p align="justify">Maybe I’m not the best person to review this album. I don’t smoke weed, and the Penguins are the only Pittsburgh team I’ve ever rooted for. However, I feel that my problems with Wiz Khalifa’s <em>Rolling Papers</em> have less to due with its subject matter and more to do with a lack of quality parts that make up just about any good hip-hop album. Namely, the beats, the flow, and the lyrics (again, regardless of subject matter) are all terrible. The beats are identical to that of most mainstream hip-hop, generic and obnoxious in equal measure. Furthermore, they do nothing to help the content of the songs. When Snoop and Dre rapped about weed, they would have a beat that you could vibe out to while under the influence. You could tell just by the beat itself when Cypress Hill was about to rhyme about marijuana. The beats that Wiz rhymes over are completely interchangeable with other pop rap artists. This puts more emphasis on Wiz himself, which makes it harder to stomach just how bad of an emcee he is. His flow is safe and predictable, often using only a few words in a line. He says practically nothing, with no clever lines or interesting wordplay to speak of. Hip-hop albums about weed are nothing new, and there are far better rap albums that fill that niche. “Rolling Papers” is a repetitive and completely pointless album, but more than anything it’s an incredibly boring one.</p> Bryce Murphyhttp://www.blogger.com/profile/04012670966156122386noreply@blogger.com0tag:blogger.com,1999:blog-4702726699213504464.post-7075835540028001632011-04-27T15:32:00.001-07:002011-04-27T16:52:35.903-07:00Lupe Fiasco- Lasers Review<p align="justify"><strong>Lupe Fiasco- Lasers</strong> (1.5/4)</p> <p align="justify"><img style="background-image: none; border-right-width: 0px; padding-left: 0px; padding-right: 0px; display: inline; border-top-width: 0px; border-bottom-width: 0px; border-left-width: 0px; padding-top: 0px" title="lasers" border="0" alt="lasers" src="http://lh3.ggpht.com/_te7qpMDQ3P8/TbiZiIAiskI/AAAAAAAAA_s/xMcgjN53m6k/lasers2.jpg?imgmax=800" width="244" height="244" /></p> <p align="justify">Although <em>Lasers</em> is cited as a Lupe Fiasco album, the studio big shots at Atlantic Records had just as much a hand in this album as the young rapper. Beneath the radio-friendly auto-tuned exterior of <em>Lasers</em>, there is probably a good album somewhere. After all, many of the leaked songs from as far back as 2009 were amazing. As in, some of the best work of Lupe’s career. “Shining Down,” “I’m Beamin’,” and “Go to Sleep,” are all masterful. Unfortunately, none of those three tracks made it onto the album. According to an interview with Lupe himself, those songs were cut at the label’s request, and replaced with songs that Lupe had no part in writing.</p> <p align="justify">However, song selection isn’t the only hand Atlantic had in <em>Lasers</em>. Missing from <em>Lasers</em> is any uniqueness or signs of the real Lupe Fiasco, the man who wowed hip-hop fans with <em>Food & Liquor</em> and <em>The Cool</em>. Lupe’s usual producers and guests have been replaced with more mainstream counterparts, including auto-tuned singers, club producers, and guests that clearly had their parts laying around somewhere prior to the recording of <em>Lasers</em>. Needless to say, the production is annoying, and it rarely fits with Lupe’s rhyming. “Beautiful Lasers,” for example, is one of the most heartfelt and personal songs Fiasco has written, as its lyrics deal with depression stemming from the saga of releasing <em>Lasers</em>. The song would probably be masterful if placed with either a dark and ominous beat or a trademark Lupe sound. It has neither, and instead is produced like a club song, complete with an annoying beat and a heavily auto-tuned chorus. This type of neglect is found throughout the album, although some of the blame needs to be handed to Lupe himself.</p> <p align="justify">More than half of the tracks have lazily thrown together lyrics that may impress mainstream rap listeners who aren’t used to intelligent wordplay, but anyone who is familiar with Lu’s work should be able to see past that. Just about everything here has been said before and said better by Lupe himself. “Words I Never Said” is a dated, watered-down version of “American Terrorist” from <em>The Cool</em>, and many of the tracks don’t even live up to that. “The Show Goes On” sounds like a generic radio single that Lupe tried to make his own, but without taking away the radio-friendly element. It doesn’t work, mostly because when you start with crap it’s hard to make something listenable out of it. Once the unbearably awful “I Don’t Wanna Care Right Now” rears its ugly head, it becomes apparent that <em>Lasers</em> is not just awful in comparison to other Lupe albums. It’s a truly awful album period, and the lack of Lupe himself is a major reason for this.  “Never Forget You” sounds like a John Legend song, and “Out of My Head” sounds like a Trey Songz track.</p> <p align="justify">Only one song on <em>Lasers</em> sounds like an actual Lupe Fiasco creation, and it’s no coincidence that that song is far and away the best on the album. “All Black Everything,” a powerful track about racism through history is simply outstanding. Lu’s wordplay is at its best, his flow is excellent, and the beat actually fits. </p> <p align="justify">Fans have been pushing for the release of <em>Lasers</em> for years now, protesting and petitioning for the album to see the light of day. Throughout all of this, something happened and the album that fans desperately wanted has been replaced with something that resembles more of the album Atlantic wanted. Honestly, the whole saga has been sickening, and reading interviews about the ordeal has been painful, both as a critic and a fan of Lupe Fiasco. Even ignoring the process, the album that has been released is awful. There’s no getting around it. <em>Lasers</em> is a terrible album that has no business being in Lupe’s discography, and I would discourage even the most hardcore of Lupe fans from buying it.</p> Bryce Murphyhttp://www.blogger.com/profile/04012670966156122386noreply@blogger.com0tag:blogger.com,1999:blog-4702726699213504464.post-34214419907776810242011-04-25T15:41:00.001-07:002011-04-25T18:29:12.443-07:00Assorted Reviews<p align="justify"><strong>Belphegor- Blood Magick Necromance</strong> (3/4)</p> <p align="justify"><img style="background-image: none; border-bottom: 0px; border-left: 0px; padding-left: 0px; padding-right: 0px; display: inline; border-top: 0px; border-right: 0px; padding-top: 0px" title="blood-magick-necromance_thumb1" border="0" alt="blood-magick-necromance_thumb1" src="http://lh5.ggpht.com/_te7qpMDQ3P8/TbX7SaHOEGI/AAAAAAAAA_o/ZKf_0qibrQs/blood-magick-necromance_thumb1_thumb%5B1%5D.jpg?imgmax=800" width="244" height="242" /></p> <p align="justify">It’s always strange when a band that relies almost entirely on being heavy changes things up. After a string of disappointing albums, Belphegor have dropped the death metal and added a new melodic element to their sound. It takes a bit of getting used to, but Helmuth shows some surprising talent as a songwriter. He still uses the same style of over-the-top anti-religious lyricism of past Belphegor, but Belphegor’s equally over-the-top musical brutality doesn’t suffer from the melodic influences. <em>Blood Magick Necromance</em> is a very solid melodic black metal album, and it’s one that even hardcore fans of traditional black metal might be able to get behind.</p> <p align="justify"> </p> <p><strong>Cake- Showroom of Compassion</strong> (3/4)</p> <p><img style="background-image: none; border-right-width: 0px; padding-left: 0px; padding-right: 0px; display: inline; border-top-width: 0px; border-bottom-width: 0px; border-left-width: 0px; padding-top: 0px" title="showroom-of-compassion_thumb" border="0" alt="showroom-of-compassion_thumb" src="http://lh4.ggpht.com/_te7qpMDQ3P8/TbX4e32fbQI/AAAAAAAAA-g/IfQmzy_x3QI/showroom-of-compassion_thumb_thumb.jpg?imgmax=800" width="244" height="244" /></p> <p align="justify">Compared to their contemporaries, Cake have always been the “mature” part-comedy part-alternative rock band. While Ween were crude, The Presidents were random, and Weezer were full on pop parody, Cake were the more simple and sophisticated of the lot. Their music is simple but wildly unique and creative, and their lyrics range from parody to literary references. <em>Showroom of Compassion</em> is the first Cake album in seven years, and it shows the band growing as musicians. Some alternative fans may be put off by its almost avant-garde oddity at times, especially on tracks “Teenage Pregnancy,” but listeners who embrace <em>Showroom of Compassion</em>’s mix of the weird and the accessible will find Cake’s best album since <em>Prolong the Magic</em> and maybe the most consistent album of their career.</p> <p align="justify"> </p> <p align="justify"></p> <p align="justify"><strong>Cold War Kids- Mine is Yours</strong> (1.5/4)</p> <p align="justify"><img style="background-image: none; border-right-width: 0px; padding-left: 0px; padding-right: 0px; display: inline; border-top-width: 0px; border-bottom-width: 0px; border-left-width: 0px; padding-top: 0px" title="mine-is-yours_thumb" border="0" alt="mine-is-yours_thumb" src="http://lh6.ggpht.com/_te7qpMDQ3P8/TbX4heYrShI/AAAAAAAAA-4/Dj4G9-7DFZ4/mine-is-yours_thumb_thumb.jpg?imgmax=800" width="244" height="244" /></p> <p align="justify">There gets to a point where an album like <em>Mine is Yours</em> becomes absolutely useless. Its brand of indie pop/rock has been popular for years now, and just about anyone with interest in indie rock has heard an album almost identical to the latest from Cold War Kids. Everything about this album is completely by-the-numbers. You have your “ooh” and “aah” melodies, slow building ballads, and everything else that has become a staple of modern indie rock. It’s boring, predictable, completely unoriginal, and impossible to recommend.</p> <p align="justify"> </p> <p align="justify"></p> <p><strong>The Decemberists- The King is Dead</strong> (2.5/4)</p> <p><img style="background-image: none; border-right-width: 0px; padding-left: 0px; padding-right: 0px; display: inline; border-top-width: 0px; border-bottom-width: 0px; border-left-width: 0px; padding-top: 0px" title="the-king-of-dead_thumb" border="0" alt="the-king-of-dead_thumb" src="http://lh6.ggpht.com/_te7qpMDQ3P8/TbX4h54JoUI/AAAAAAAAA_A/bI-94rBicds/the-king-of-dead_thumb_thumb.jpg?imgmax=800" width="244" height="244" /></p> <p align="justify"><em>The King is Dead</em> is a Decemberists album for the fans that aren’t interested in the band’s weird and often demented stories. This is a safe, forgettable album, but it’s one that has a clear audience in mind. The music is almost entirely acoustic, and the songs are all self contained. Again, if you like The Decemberists softer material, and don’t mind the lack of a concept this is an album you will probably enjoy.</p> <p align="justify"> </p> <p align="justify"></p> <p align="justify"><strong>Iron & Wine- Kiss Each Other Clean</strong> (2/4)</p> <p align="justify"><img style="background-image: none; border-right-width: 0px; padding-left: 0px; padding-right: 0px; display: inline; border-top-width: 0px; border-bottom-width: 0px; border-left-width: 0px; padding-top: 0px" title="kiss-each-other-clean_thumb" border="0" alt="kiss-each-other-clean_thumb" src="http://lh3.ggpht.com/_te7qpMDQ3P8/TbX4iqlD6DI/AAAAAAAAA_I/MAzy4o85nPE/kiss-each-other-clean_thumb_thumb.jpg?imgmax=800" width="244" height="244" /></p> <p align="justify"><em>Kiss Each Other Clean</em> is the Iron & Wine album I never wanted to hear. After gaining popularity among indie fans with 2007’s brilliant <em>The Shepherd’s Dog</em>, and even getting some mainstream recognition with his inclusion in the <em>Twilight</em> soundtrack, it’s not surprising but still disappointing that Sam Beam has decided to go in a more accessible direction. Iron & Wine’s sound has transitioned from minimalist folk rock to a more band-oriented indie pop. That’s not to say that folk is better than indie pop, and it’s great that Beam’s music is being appreciated by a larger audience, but the problem is that <em>Kiss Each Other Clean</em> ignores nearly all of Sam Beam’s strengths.</p> <p align="justify">Usually an extraordinary lyricist and storyteller, Beam struggles to tell a coherent story on this album, largely because he focuses on trying to create catchy melodies and longer songs. While some of the tracks are catchy, none are particularly memorable. “Tree by the River” is an example of that, as it’s an all too generic indie pop song that is completely lacking in substance. Furthermore, the full band was implemented far better on <em>The Shepherd’s Dog</em>. There is simply too much going on here, and the misplaced brass instruments are annoying and detract from the music. “Rabbit Will Run” is the only worthwhile song here, and that is mostly because it sounds like something that would fit on <em>The Shepherd’s Dog</em>. It pains me to say this, but <em>Kiss Each Other Clean</em> is a bad album that contains none of what makes Iron & Wine great.</p> <p align="justify"> </p> <p><strong>Lil B- Angels Exodus</strong> (3/4)</p> <p><img style="background-image: none; border-right-width: 0px; padding-left: 0px; padding-right: 0px; display: inline; border-top-width: 0px; border-bottom-width: 0px; border-left-width: 0px; padding-top: 0px" title="angels-exodus_thumb" border="0" alt="angels-exodus_thumb" src="http://lh5.ggpht.com/_te7qpMDQ3P8/TbX7Fam-9xI/AAAAAAAAA_g/UaM7BWYorss/angels-exodus_thumb_thumb%5B1%5D.jpg?imgmax=800" width="244" height="244" /></p> <p align="justify">How does one critique an album like <em>Angels Exodus?</em> I assume it would be similar to how a movie critic would asses “Plan 9 From Outer Space,” an infamous b-movie that is undeniably horrible, and yet it’s unintentionally one of the best comedies ever made. Does the unintended comedy make it a good movie? Lil B’s music is very similar to <em>Plan 9</em>, although I’m almost certain that the self-proclaimed “based god” is in on the joke. Apparently, Lil B has over 150 Myspace pages, all containing awful hip-hop that has Lil B either repeating a celebrity name over and over again (with someone yelling “swag” in the background) or the rapper “based freestyling,” which he describes as freestyling without regard for whether the words rhyme or even make sense. Furthermore, Lil B describes his music as “based,” a genre that he is a “god” of, and one that’s music is “very positive and very rare.” All of this is ridiculous, and again, I’m convinced that this is a fairly genius parody of hip-hop artists that take themselves too seriously. Even if I’m wrong, and Lil B really is just a garbage rapper who happens to be messed up in the head, it doesn’t change the hilarity of his music.</p> <p align="justify"><em>Angels Exodus</em> is a little different than the music Lil B has previously released, as this album is more listenable and at times even more hilarious. The beats are pseudo-ambient tracks that parody more conscious hip-hop beats. The beats are actually quite clever, as well as surprisingly listenable. Lil B’s rapping often does rhyme, and his storytelling is hysterical. He starts to tell stories (<em>“I remember this one time motherfuckers forgot about me”</em>) and then dives back into his nonsensical verses about his positive outlook on life and the troubles that come with being a based god. Regardless of whether its humor is intentional, <em>Angels Exodus</em> is a very entertaining album. I don’t know if that makes it a “good” album, but I’m recommending it nonetheless.</p> <p align="justify"> </p> <p align="justify"><strong>Talib Kweli- Gutter Rainbows</strong> (2/4)</p> <p><img style="background-image: none; border-right-width: 0px; padding-left: 0px; padding-right: 0px; display: inline; border-top-width: 0px; border-bottom-width: 0px; border-left-width: 0px; padding-top: 0px" title="gutter-rainbows_thumb" border="0" alt="gutter-rainbows_thumb" src="http://lh6.ggpht.com/_te7qpMDQ3P8/TbX4jvS-c8I/AAAAAAAAA_Q/rW7fBT5ZTJ4/gutter-rainbows_thumb_thumb.jpg?imgmax=800" width="244" height="244" /></p> <p align="justify">Released exclusively as a digital album, <em>Gutter Rainbows</em> sounds like an album of outtakes. There are moments where it lives up to Talib Kweli’s talent, but it’s hard to shake the feeling that this is just a warm up for a new and better album (Kweli has another scheduled to be released later in the year). The production is a huge indicator for this, as the relatively bland beats on <em>Gutter Rainbows</em> are far removed from the Hi-Tek and Kanye beats Talib Kweli has rapped over in the past. Maybe <em>Gutter Rainbows</em> is proof of how great Talib Kweli really is, as even the emcee at his worst is listenable and sporadically entertaining despite seeming like a watered down version of a true Talib Kweli album.</p> <p align="justify"> </p> <p><strong>Times of Grace- The Hymn of a Broken Man</strong> (2/4)</p> <p><img style="background-image: none; border-right-width: 0px; padding-left: 0px; padding-right: 0px; display: inline; border-top-width: 0px; border-bottom-width: 0px; border-left-width: 0px; padding-top: 0px" title="the-hymn-of-a-broken-man_thumb" border="0" alt="the-hymn-of-a-broken-man_thumb" src="http://lh4.ggpht.com/_te7qpMDQ3P8/TbX4kXFFU5I/AAAAAAAAA_Y/XMPX_P5O0bo/the-hymn-of-a-broken-man_thumb_thumb.jpg?imgmax=800" width="244" height="244" /></p> <p align="justify">Heavy on breakdowns and light on originality, the new project from former Killswitch Engage vocalist Jessie Leech and current Killswitch guitarist/producer Adam Dutkiewicz doesn’t drift far from Killswitch territory. <em>The Hymn of a Broken Man</em> is a metalcore album through and through, and only Leech’s strong vocal performance separates it from other melodic albums in the genre. There also a few ballads to mix things up, but even those become predictable. Fans of metalcore will find a listenable, albeit formulaic album here, but there are simply too many similar and better albums to recommend Times of Grace.</p> Bryce Murphyhttp://www.blogger.com/profile/04012670966156122386noreply@blogger.com1