2012 has been quite an eventful year for most, musicians included. We over here at Buona Vista Music have had the pleasure (and in certain cases, displeasure) of hearing a good number of albums and tracks over the course of this year. So without further ado, here are some of the year's highlights.
Best Album:
Taylor Swift - Red
... only joking. The actual best album:
Hail Spirit Noir - Pneuma.
Okay, it may have been the 'safe' choice but, hey, sometimes safe is good right? In an age where music - regardless of genre or type - is trending towards glitzy post-production and wanton use of effects, Pneuma presents itself as a refreshing throwback; it's hard yet catchy, edgy yet easy. I didn't actually post a review of the album here (Satthia, however, did - and you should check it out) but had I done so, Pneuma would have been an easy five-star earner.
Worst Album:
Taylor Swift - Red
Easy choice. One Direction and Justin Bieber tried their darnedest to snag this award from the songstress but ultimately failed to do so. Obviously there have been worse albums in the strictest sense (production, songwriting etc.) but Red takes the cake because of simple proportion - given the amount of time, effort, money and manpower invested into its making (to mention nothing of its public reception and sales figures), it should surely have been miles better than it was. What, you ask, was it? A collection of poor lyrics, uninspired music and just about every effect in ProTools and more is what it was.
Most Disappointing Album:
Kamelot - Silverthorn
An album qualifies for the 'disappointing' label if its end result falls short of what was to be expected of it; for this reason and this reason alone hopefuls like Bieber do not have a prayer of making this category, because hey, who in their right mind expects any good music from the guy? Anyhow, Kamelot's Silverthorn has to be one of the biggest letdowns of the year. I spent the weeks before its stipulated release date trawling the internet in search of clips, sneak previews or any indication of what was to come; finally came the day I could listen to the entire album and boy was I let down. The album in one word: stale. Kamelot, you guys can do better - and we know it!
Best Live Performance:
PSMS @ TAB
I've been to a few gigs this year and they were by and large awesome (I avoid attending performances that either feature performers that I don't fancy or have the potential to suck). Tommy Emmanuel's gig was scintillating and Kvelertak (with Truth Be Known opening) was a load of fun, but PSMS is the gig I will most remember twenty years from now because of the musicians' rare combination of skill, presence and chemistry. However, had Tommy's 2012 gig been the first time I saw him, the choice would have been that much tougher.
Worst Live Performance:
Some Busker @ the bridge linking Clarke Quay and Boat Quay
This dude happily destroyed some of my favourite songs one by one. I swear that he was singing a dirge until I stood a mere metre away from him and made out the words 'Love meeeee, tenderrrrr...'. Not cool.
Sunday 23 December 2012
Saturday 22 December 2012
Favourite Albums 2012
This is a personal list of my favourite musical releases this year regardless of genre. There were many surprises this year, upon hindsight, and I found some new awareness and appreciation for genres I never even knew existed (case in point: darkwave). Please note that this is not a ranking; I simply cannot choose which is better here. All are likeable albums in any case. Without further ado:
Dead Can Dance - Anastasis [Darkwave]
This was an album that floored me upon first listen. Headed by male-female vocal duo Lisa Gerrard and Brendan Perry, Dead Can Dance has been around for quite a while already but this is their first album in a decade. The wait was, however, worth it. Boasting majestic vocals, lush and diverse instrumentation and dark atmospheres, Anastasis is the perfect movie soundtrack to the apocalypse. Special credit must be given to Gerrard, who gets across her message wordlessly.
Death Grips - The Money Store / No Love Deep Web [Hip - Hop]
Another band that came quite recently, Death Grips' futuristic approach to rap with MC Stefan's in your face vocal delivery and Zach Hill's half metal half jazz drums is an exhibition in musical creativity. What seperates the duo from every other idiot rapper is their emphasis on the music and not just the rap, and the collaboration is electrifying. Welcome to the future!
Blut Aus Nord - What Once Was... Liber II [Avant-Garde Black Metal]
Whilst there is a big commotion over the band's genre-eluding 777: Cosmosophy, the grand finale to the epic 777 trilogy consisting of 777: Sect(s) and 777: Desanctification, nobody paid much attention to this limited press vinyl that was released a few months earlier. And what the band is trying to prove baffles me; while Cosmosophy was an excellent record with its shoegaze elements and dense production, What Once Was... Liber II is the obvious direction of the band, using the new found melodic and dreamy textures of their recent trilogy and fusing it with the dissonance they are known for. Cosmosophy was grand, but this 2-track EP is a definite winner.
Swans - The Seer [Noise Rock]
Enough has been said about the epic scale of this monster record, with its taut dynamics and interesting layering. Whilst by no means a desirable record for attentive listening, this 2CD masterpiece makes for a fantastic background when working or studying. Especially at night.
BBNG - BBNG2 [Hip-hop Jazz Fusion]
Elitists have always insisted that true instrumental jazz must follow the revered style of John Coltrane in the 60s, with indifferent and groovy tunes and rhythms. Jazz is now a dying genre thanks to the elitists' stubborness. However, BBNG set themselves apart, by using source material from hip-hop songs, rather than relying on the same old jazz methods. The instrumentation is energetic and pounding, not the meditative kind. The drums are amazingly fast and hard, the keyboards are shrill and piercing, like shooting at glass walls, and the bass is huge and thick, sounding more like rock than jazz. The rhythm changes in 'UWM', the vitality on 'Flashing Lights'. the drumming on 'DMZ', there are numerous memorable moments on this fantastic hip-hop jazz album.
Krallice - Years Past Matter [Transcendental Black Metal]
Krallice has been slowly evolving to be one of my favourite bands over the past few years, and by their fourth record, it's hard to believe that the band is only five years old. Mick Barr and Colin Marston have probably more material released under different bands and names and the practice sessions and countless trials show fruit in their futuristic playing here. The final track, IIIIIIIIIIII is by far the best track I've had the pleasure of listening to this year.
Cloud Nothings - Attack On Memory [Pop-Punk]
Another genre that I cannot say I am a fan of, Cloud Nothings proved me wrong with this excellent record. Band leader Dylan Baldi has a ear for melody on the more aggressive tracks like 'Wasted Days'. The album's defining moments are in its hooks, and the abundance of these more than make up for the seemingly immature lyrics, or the scope, of the album.
Lotus Plaza - Spooky Action At A Distance [Indie Rock]
Having listened repeatedly to Deerhunter's Desire Lines since 2010, it was a dream come true when Lockett Pundt released his second solo album. SAaaD has beautiful songs that bring to mind Alcest's beautiful debut in 2007. Pundt's songwriting is focused but he does not compromise introspective space in the midst of his warm keyboard lines and riffs. A lot of material sounds similar to Deerhunter's latest albums, but this isn't much of a problem for me.
Hail Spirit Noir - Pneuma [Psychedelic Black Metal]
With funky classic keyboards, guitar solos that were clearly still inspired by Jimmy Page, and, surprise, black metal screams and blastbeats, this album drops any anger and kvlt theatrics other black metal bands have been tirelessly practising for years. Instead, it's laidback, trippy, and the kind that brings warm smiles during the cold holidays days ahead. What metal has clearly neglected for a very long time, in its persistent search for truth and breaking drumming speeds and over-the-top compositions, is some beautiful catchy melodies. Believe me when I say this album may even appeal to fans of radio pop music.
A Forest Of Stars - A Shadowplay For Yesterdays [Psychedelic Black Metal]
Possibly continuing where Cradle Of Filth left of since their green era, A Shadowplay may not exactly be exciting on first listen mainly because of the vocal delivery, which at times sound weak and barbaric, but with repeated listens, they form a nice contrast to the beautiful violin and English folk moments, and the times when violins and keyboards pop out are downright astonishing and more well-integrated than, say, this year's Portal Of I. But more than all of that, Gatherer Of The Pure is one of the most painful, emotional black metal songs I've heard in years, something I've possibly not felt since hearing Cradle's Her Ghost In The Fog.
Pig Destroyer - Book Burner [Deathgrind]
This might be a little mainstream, but unlike mainstream bands that get attention by commercializing their music, Pig Destroyer earned their fanbase by doing the exact opposite; Book Burner is an ugly, devastating exercise in power, precision and lots and lots of anger. Scott Hull rises to the ranks of guitar god, churning out riff after riff effortlessly, but with not one wasted riff. Likewise, Adam Jarvis adopts a start-stop drum pattern instead of mindless blastbeats and his foot dexterity, combined with Hull's riffs and J R Heyes' ever insightful lyrics, make for a bludgeoning record that is as extreme in both brawn and brain.
Scott Walker - Bish Bosch [Experimental]
Scott Walker's transformation from baroque pop heart throb to an evil genius that has major influence on the most unlikely of artistes (Akerfedlt of Opeth stated that Walker's last album The Drift was what he hoped to parallel on Watershed but it was far too difficult, but you can see the touches in this year's Storm Corrosion). The album's introduction alone was worth my money, but the twist genius of the 21 minute epic SDSS14+13B (Zercon, A Flagpole Sitter) is the real draw here. Difficult to digest, but the refreshing innovation of Scott Walker simply demands your attention.
Cannibal Corpse - Torture [Death Metal]
This band has far too many detractors for no other reason other than its mainstream appeal. People have accused Cannibal Corpse for being commercial, generic and untalented. This may be true when Cannibal Corpse experienced a slum after Chris Barnes' departure from the mid 90s to around 2006, before the fantastic come-back album Kill, and despite a slight misfire in Evisceration Plague, Torture is Cannibal Corpse's best album in two decades. With a refined heaviness, extremely sharp songwriting, NOTE, songs, not lame showcases for guitar wankery or overly technical rubbish that people see as an excuse to showcase their technical flair, but real, actual, bloody songs. SONGS. Each track is memorable and has its own characteristic hook and melody. They are at once accessible but not without depth. Whether or not you choose to be open-minded, I highly appreciate this album for its insistence on groovy, sexy death metal over sped up songs without value. Chuck would have been proud.
Cloak Of Altering - Ancient Paths Through Timeless Voids [Industrial Black Metal]
This, I admit, may be the most controversial choice I have listed here, but this black metal album was written so well, for a ridiculously low price of $2 or more. With industrial flair, and not in the electronic touches like Fear Factory, but some really hardcore techno, seamlessly mixed with black metal tremolo picking, the album features doom-laden passages that are perfect for a lonely night. It's well written because the techno does not contradict the black metal elements, and may be another creative interpretation on a genre showing vast growth in the last decade.
Godspeed You! Black Emperor - Allelujah! Don't Bend! Ascend! [Post Rock]
I have never listened to this band prior to this album but an easy search will most definitely state that it's been a decade long wait for fans since their last record, Yanqui U.X.O., and the new album already has two long tracks that has been part of the post-rocker repertoire since 2002-2003 when on tour. Stumbling upon it suddenly, I can only wonder how grateful it must be for a fan since the record blew my mind away since its first listen.
Tuesday 4 December 2012
no reviews
We will temporarily cease reviews to concentrate on year end best-of lists and artiste features. We are just two random dudes without a lot of time to listen to everything like other sites. Thank you!
Friday 30 November 2012
The Sam Willows - The Sam Willows EP Review
The Sam Willows - The Sam Willows EP [Decidedly Indie Rock / Gospel]
Welcome, it is certainly coincidental that today the Buona Vista Music blog reviews a band with a popular girl from a Buona Vista school. Sam Willows is a gospel rock band that shot to fame on the Straits Times as one of a growing number of local musical talent. But is the Straits Times a reliable source when it comes to music reviews for the instrumental connoisseur? Before we move on to the actual EP itself, it's perhaps good to listen to the live covers that help propel the band to Fame:
Look at the way she looks at her heart throb.
The band prides itself in making 'unadulterated, unbound music', but a casual listen already shows a dominance in sound stage by siblings Narelle and Benjamin whilst guitarist Jon Chua puts up a subtle performance both aurally and visually. The band has obviously had fun in their videos and music, but does it live up to expectation?
Firstly, production: the sounds are fantastic, considering local standards. The sound of every string strum can be heard with perfect quality in the intro track 'Crown', which features the trio of siblings (the third being multi-instrumentalist Sandra Tang), with the cellos / violins having fantastic texture alongside the muffled vocals. The drums in the coming tracks are also well-managed, without being too bassy and sharp cymbal sounds, never overpowering the rest of the music. The choice of having the keyboard as a primary instrument as opposed to a background support baffles me, but I will take that as my own conflicting taste and not discredit the band for this choice.
However, songwriting is where the album gloriously suffers. For a band that tries to blend in multiple genres of music, there is sadly nothing here that you would never have heard before. Instead of creating something new with various influences, the sounds are mismatched with rough transitions, and it's evident the band is trying too hard to mix it all in. Vocals shift between all three vocalists with no significance, and vocal harmonies do not sound pleasant when all three vocalists are singing in choral lines with not much dynamic power, which adds to the gospel 'feel' but does nothing to hide the fact that the vocalists are unsure of each other's place in the sound. The 'whispering' vocal styles have no emotions like that of the band the xx, and this is no thanks to the massive amount of reverb on the vocals.
The EP technically only has four real songs: the intro and outro being the main song 'Glasshouse' with more effects. 'Crimson' has a pacing that is awkward because the singers are oblivious to the beat and sing out of sync, and when the music stops to let Narelle take centre stage, her voice lacks power. Her brother employs a crooning style which is dampered with reverb and the song has redundant guitar licks that do nothing to alter the mood of the song; definitely just put in for sake of 'transcending genres'. Similarly, keyboards flirt with the singers on 'Coming Train', with not a memorable lick or riff, and some decent soloing in the bridge that again, is out of place and would have done better on a more raw sound. The keyboards try to add some element of 60s swing but are not sharp or shrill enough. Sloppy. 'Nightlife' begins with an overly simple keyboard riff has a messy transition from quiet soul to indie rock (just some synth effect before Jon Chua's distorted guitars make their way to the song), collapsing before the guitarist even has time to make some proper licks and riffs, and ending with all three reverbed voices crooning away. This song also boasts some idiotic lyrics:
Goodbye, goodbye is not the end
Goodbye, goodbye is the end
And her hair falls in locks
And her hair falls in locks
I'll leave the night light on
I'll leave the night light on for you
In the witching hour
May the good Lord come for you
'Glasshouse' is perhaps the only good song on the EP, because it is the only song with a memorable riff, though repetitive. Jon Chua is perhaps only at home on this song, with no bad attempts to transcend genre and sticking to the strength of the chorus; it's sing-along chorus, quicktime drums and some really nice guitar. It's also the song where the vocalist shift in and out of stage with systematic cues at significant times.
As such, the EP is a glossy and beautiful box with the same action toy inside. You may argue that this band is doing something right by playing old school music whilst the rest of Singapore listens to mindless K-Pop, but that would only show the depth of your musical knowledge, wouldn't it? With bands like Rudra creating something original and creating waves internationally, this EP is something you would forget by tomorrow, unless, like a lot of guys I know, you just want to hear Narelle Kheng's voice for things other than musical purpose.
★★☆☆☆ Passable - One or two good songs, a bit of flow
____________________________________________________
JE's Take:
Just listened to The Sam Willows EP. Rather than writing a separate full-length review, I thought I'd share my thoughts on the band and their latest effort point by point.
Anyhow,
Welcome, it is certainly coincidental that today the Buona Vista Music blog reviews a band with a popular girl from a Buona Vista school. Sam Willows is a gospel rock band that shot to fame on the Straits Times as one of a growing number of local musical talent. But is the Straits Times a reliable source when it comes to music reviews for the instrumental connoisseur? Before we move on to the actual EP itself, it's perhaps good to listen to the live covers that help propel the band to Fame:
Look at the way she looks at her heart throb.
The band prides itself in making 'unadulterated, unbound music', but a casual listen already shows a dominance in sound stage by siblings Narelle and Benjamin whilst guitarist Jon Chua puts up a subtle performance both aurally and visually. The band has obviously had fun in their videos and music, but does it live up to expectation?
Firstly, production: the sounds are fantastic, considering local standards. The sound of every string strum can be heard with perfect quality in the intro track 'Crown', which features the trio of siblings (the third being multi-instrumentalist Sandra Tang), with the cellos / violins having fantastic texture alongside the muffled vocals. The drums in the coming tracks are also well-managed, without being too bassy and sharp cymbal sounds, never overpowering the rest of the music. The choice of having the keyboard as a primary instrument as opposed to a background support baffles me, but I will take that as my own conflicting taste and not discredit the band for this choice.
However, songwriting is where the album gloriously suffers. For a band that tries to blend in multiple genres of music, there is sadly nothing here that you would never have heard before. Instead of creating something new with various influences, the sounds are mismatched with rough transitions, and it's evident the band is trying too hard to mix it all in. Vocals shift between all three vocalists with no significance, and vocal harmonies do not sound pleasant when all three vocalists are singing in choral lines with not much dynamic power, which adds to the gospel 'feel' but does nothing to hide the fact that the vocalists are unsure of each other's place in the sound. The 'whispering' vocal styles have no emotions like that of the band the xx, and this is no thanks to the massive amount of reverb on the vocals.
The EP technically only has four real songs: the intro and outro being the main song 'Glasshouse' with more effects. 'Crimson' has a pacing that is awkward because the singers are oblivious to the beat and sing out of sync, and when the music stops to let Narelle take centre stage, her voice lacks power. Her brother employs a crooning style which is dampered with reverb and the song has redundant guitar licks that do nothing to alter the mood of the song; definitely just put in for sake of 'transcending genres'. Similarly, keyboards flirt with the singers on 'Coming Train', with not a memorable lick or riff, and some decent soloing in the bridge that again, is out of place and would have done better on a more raw sound. The keyboards try to add some element of 60s swing but are not sharp or shrill enough. Sloppy. 'Nightlife' begins with an overly simple keyboard riff has a messy transition from quiet soul to indie rock (just some synth effect before Jon Chua's distorted guitars make their way to the song), collapsing before the guitarist even has time to make some proper licks and riffs, and ending with all three reverbed voices crooning away. This song also boasts some idiotic lyrics:
Goodbye, goodbye is not the end
Goodbye, goodbye is the end
And her hair falls in locks
And her hair falls in locks
I'll leave the night light on
I'll leave the night light on for you
In the witching hour
May the good Lord come for you
'Glasshouse' is perhaps the only good song on the EP, because it is the only song with a memorable riff, though repetitive. Jon Chua is perhaps only at home on this song, with no bad attempts to transcend genre and sticking to the strength of the chorus; it's sing-along chorus, quicktime drums and some really nice guitar. It's also the song where the vocalist shift in and out of stage with systematic cues at significant times.
As such, the EP is a glossy and beautiful box with the same action toy inside. You may argue that this band is doing something right by playing old school music whilst the rest of Singapore listens to mindless K-Pop, but that would only show the depth of your musical knowledge, wouldn't it? With bands like Rudra creating something original and creating waves internationally, this EP is something you would forget by tomorrow, unless, like a lot of guys I know, you just want to hear Narelle Kheng's voice for things other than musical purpose.
★★☆☆☆ Passable - One or two good songs, a bit of flow
____________________________________________________
JE's Take:
Just listened to The Sam Willows EP. Rather than writing a separate full-length review, I thought I'd share my thoughts on the band and their latest effort point by point.
Anyhow,
- The band members are obviously talented and capable musicians; all of them can carry a tune (except the lead guitarist, whose vocals cannot be commented on for lack of sample size) and play at least one instrument. Credit must be given to the band for trying its best to utilise the separate talents of each individual member rather than shoehorn the members into fixed roles.
- Vocalist Benjamin Kheng has a nice, mellow voice that brings to mind Gary Lightbody of Snow Patrol. Guitarist Narelle Kheng, who takes up co-lead and backing vocal duties, doesn't quite match up to her brother in this regard. The pitch correction and post-production on her voice at times get glaringly obvious.
- The EP is generally tremendously-produced. The opening track, 'Crown', however, has isolated incidences of clipping - whether this was deliberately done by the band I do not know but regardless, 'Crown' has a nice, layered feel to it because of that.
- There are a bunch of worthy musical ideas and concepts littered throughout the EP, including the opening riff and breakdown of 'Crimson' and the chord progression in 'Coming Train' (including the delightfully tasty keyboard embellishments). However, the songs generally lack structure and come across as a bunch of ideas rather than as cohesive wholes.
Featured Artiste: The Faceless
I had heard good things about The Faceless from a few friends over the past few months without actually listening extensively to their music (strange, because The Faceless are actually immensely popular in the death metal arena), so I thought that I should finally get down and check them out.
I must say that three days of listening almost exclusively to their music has been entertaining and enjoyable. The Faceless are the epitome of a modern metal band - they are at once youthful, energetic, heavy and technical and manage to straddle the fine line that separates each of those characteristics masterfully.
'Leica', off their 2006 album 'Akeldama', starts with an absolute bang and does not let up one bit. The pedants and purists (i.e. douchebags) among us might trash The Faceless for their '-core' sound in here, when in fact the band demonstrates that it is entirely possible to achieve a heavy and full overall sound despite the use of riffs that would admittedly be more readily associated with lighter genres like metalcore and screamo. Key to this is their layered riffing, which can be heard at various points such as 1:54 into the video. This song can be enjoyed at a superficial level; listeners who open their ears are likewise rewarded for their discretion by the band.
Akeldama's titular track takes on a slightly less structured and more experimental approach. The drum work in this piece is an absolute treat to listen to, especially at around the two-minute mark. The band's use of odd time signatures and syncopated beats is tasteful and catchy without being pretentious. The solos scattered throughout the song make for a nice touch without detracting from the main theme. All these are remarkable feats for a relatively young band such as this.
'Planetary Duality I' and 'Planetary Duality II', taken off the band's second album (titled - you guessed it - 'Planetary Duality') reflect the band's movement towards an even more experimental direction. The album itself is a concept album that depicts a reptilian race called The Illuminati and its control over the world, thus accounting for the random (and admittedly slightly annoying) human wails and gasps at the beginning of Planetary Duality I. I don't fancy this album as much as I do Akeldama, but I can understand what the band are trying to achieve with it.
This understanding is aided with the benefit of context: check out 'Deconsecrate' from their 2012 album 'Autotheism' and you will understand what I was talking about prior. The band is further pushing its musical and artistic boundaries with this album. 'Deconsecrate' contains much of what makes The Faceless so easily accessible but at the same time has new elements that give it a completely different edge to much of The Faceless's earlier work. The lightly-distorted intro and clean vocals aren't to everyone's liking (I especially did not dig the copious amounts of auto-tune splashed onto every single sung syllable), but the saxophone lines in the middle and the guitar solos make the song a more-than-worthy listen. 'Autotheism' is far jazzier than its two predecessors, thanks in no small part to the influence of one Devin Townsend. Many of The Faceless' longtime followers have expressed their disgust/disappointment over the band's latest album; I must say that while it is the least accessible among the three, it contains the most musical depth and variety.
Overall, the band (by extreme metal standards) are a pretty easy and refreshing listen. I would absolutely recommend new fans to first pick up 'Akeldama' and listen to it in its entirety, then grab both 'Autotheism' and 'Planetary Duality' and listen to those two in the mentioned order, or simultaneously.
I must say that three days of listening almost exclusively to their music has been entertaining and enjoyable. The Faceless are the epitome of a modern metal band - they are at once youthful, energetic, heavy and technical and manage to straddle the fine line that separates each of those characteristics masterfully.
'Leica', off their 2006 album 'Akeldama', starts with an absolute bang and does not let up one bit. The pedants and purists (i.e. douchebags) among us might trash The Faceless for their '-core' sound in here, when in fact the band demonstrates that it is entirely possible to achieve a heavy and full overall sound despite the use of riffs that would admittedly be more readily associated with lighter genres like metalcore and screamo. Key to this is their layered riffing, which can be heard at various points such as 1:54 into the video. This song can be enjoyed at a superficial level; listeners who open their ears are likewise rewarded for their discretion by the band.
Akeldama's titular track takes on a slightly less structured and more experimental approach. The drum work in this piece is an absolute treat to listen to, especially at around the two-minute mark. The band's use of odd time signatures and syncopated beats is tasteful and catchy without being pretentious. The solos scattered throughout the song make for a nice touch without detracting from the main theme. All these are remarkable feats for a relatively young band such as this.
'Planetary Duality I' and 'Planetary Duality II', taken off the band's second album (titled - you guessed it - 'Planetary Duality') reflect the band's movement towards an even more experimental direction. The album itself is a concept album that depicts a reptilian race called The Illuminati and its control over the world, thus accounting for the random (and admittedly slightly annoying) human wails and gasps at the beginning of Planetary Duality I. I don't fancy this album as much as I do Akeldama, but I can understand what the band are trying to achieve with it.
This understanding is aided with the benefit of context: check out 'Deconsecrate' from their 2012 album 'Autotheism' and you will understand what I was talking about prior. The band is further pushing its musical and artistic boundaries with this album. 'Deconsecrate' contains much of what makes The Faceless so easily accessible but at the same time has new elements that give it a completely different edge to much of The Faceless's earlier work. The lightly-distorted intro and clean vocals aren't to everyone's liking (I especially did not dig the copious amounts of auto-tune splashed onto every single sung syllable), but the saxophone lines in the middle and the guitar solos make the song a more-than-worthy listen. 'Autotheism' is far jazzier than its two predecessors, thanks in no small part to the influence of one Devin Townsend. Many of The Faceless' longtime followers have expressed their disgust/disappointment over the band's latest album; I must say that while it is the least accessible among the three, it contains the most musical depth and variety.
Overall, the band (by extreme metal standards) are a pretty easy and refreshing listen. I would absolutely recommend new fans to first pick up 'Akeldama' and listen to it in its entirety, then grab both 'Autotheism' and 'Planetary Duality' and listen to those two in the mentioned order, or simultaneously.
Friday 23 November 2012
Godspeed You! Black Emperor - Allelujah! Don't Bend! Ascend! Review
Godspeed You! Black Emperor - Allelujah! Don't Bend! Ascend! [Awesome]
Effortlessly, one of the best albums of 2012.
I have never listened to this band prior to this album but an easy search will most definitely state that it's been a decade long wait for fans since their last record, Yanqui U.X.O., and the new album already has two long tracks that has been part of the post-rocker repertoire since 2002-2003 when on tour. Stumbling upon it suddenly, I can only wonder how grateful it must be for a fan since the record blew my mind away since its first listen.
Consisting of nine members and making far better music than the likes of rubbish bands like Slipknot, GY!BE has a lot of textural dexterity and huge sounds, that would probably be noise on their own instruments but paint a deep, complex picture when combined together. An earlier album I reviewed, The Seer by Swans, and Russian Circles, are probably the closest comparisons I have to the four instrumental pieces here, and the fact that a 20 minute mark does not hinder the two main songs, 'Mladic' and 'We Drift Like Worried Fire', the band members simply (or so do make it seem) throwing in their musical offerings to the song and letting the track shape up by itself, like throwing fuel to a fire and watching it burn further. Characteristically, the two pieces consist of isolated moments of odd hooks and melodies before dissipating and rushing back altogether, allowing the song to breathe and progress at its own indulgent piece rather than manufacturing the product. Yet, the experiments are not bereft of technical mastery and constraint, as in audibly obvious in the slow, thumping 'Worried Fires', which culminates to an orchestral beauty of such sweet melody it is unpredictable and difficult to fathom at first listen.
The two segues act more as contrasts to the the epics, but are not in anyway undermined as the band puts in a lot of work into the textures (the production is spacey, rich and... indie). They do work like resting points between the two songs, and could possibly signal a new album soon with the hopeful promise of spacey drone soundscapes.
There are probably a lot more details I missed out for this album, but for now, it's a definite classic.
★★★★★ Excellent - Undisputed classic for critical listening
Effortlessly, one of the best albums of 2012.
I have never listened to this band prior to this album but an easy search will most definitely state that it's been a decade long wait for fans since their last record, Yanqui U.X.O., and the new album already has two long tracks that has been part of the post-rocker repertoire since 2002-2003 when on tour. Stumbling upon it suddenly, I can only wonder how grateful it must be for a fan since the record blew my mind away since its first listen.
Consisting of nine members and making far better music than the likes of rubbish bands like Slipknot, GY!BE has a lot of textural dexterity and huge sounds, that would probably be noise on their own instruments but paint a deep, complex picture when combined together. An earlier album I reviewed, The Seer by Swans, and Russian Circles, are probably the closest comparisons I have to the four instrumental pieces here, and the fact that a 20 minute mark does not hinder the two main songs, 'Mladic' and 'We Drift Like Worried Fire', the band members simply (or so do make it seem) throwing in their musical offerings to the song and letting the track shape up by itself, like throwing fuel to a fire and watching it burn further. Characteristically, the two pieces consist of isolated moments of odd hooks and melodies before dissipating and rushing back altogether, allowing the song to breathe and progress at its own indulgent piece rather than manufacturing the product. Yet, the experiments are not bereft of technical mastery and constraint, as in audibly obvious in the slow, thumping 'Worried Fires', which culminates to an orchestral beauty of such sweet melody it is unpredictable and difficult to fathom at first listen.
The two segues act more as contrasts to the the epics, but are not in anyway undermined as the band puts in a lot of work into the textures (the production is spacey, rich and... indie). They do work like resting points between the two songs, and could possibly signal a new album soon with the hopeful promise of spacey drone soundscapes.
There are probably a lot more details I missed out for this album, but for now, it's a definite classic.
★★★★★ Excellent - Undisputed classic for critical listening
Sunday 18 November 2012
Deftones - Koi No Yukan Review
Deftones - Koi No Yukan [Alternative Rock]
Alternative rockers Deftones return to studio with Koi No Yukan (which curiously means 'Love's Premonition), and the album's been getting a lot of press attention from reviewers who are mesmerized by the band's ability to convey sharp dynamics between soft and heavy. It's clear that the reviewers are not very musically inclined and the reason for the incredible tone in the group's last album, Diamond Eyes, and this, is their switch to 8-string guitars, which gives off a different sound when distorted than their older 7-string guitars. Having seen astonishing albums put out by Ihsahn and Animals As Leaders who utilize the 8-string effectively, the tone of Koi No Yukan is nothing entirely new. That doesn't mean the album is without its strengths, though.
One characteristic that makes Deftones highly popular with the alternative press is the groups' stellar songwriting capabilities, and all of the Deftones soundscape is already here on this album, ethereal atmospheres, heavy guitars that are used sparsely and many intriguing moments of introspection. The production is fantastically warm yet sharp, a nice paradox that creates a very lively setting for the band's sound, keeping it both introspective and hard-hitting. This spaciousness allows for songs like 'Poltergeist' to truly shine on the album (and may as well be one of my favourite songs here). Is the 8-string guitar fully utilized? My honest answer would be a no, but it's tone does keep some of the mediocre songs engaging, especially toward the second half of the album where the songs start to become too comfortable and lethargic.
There is no push/pull dynamics in this album, at least not in such an epic scale as Tool's work, or like this year's incredible Years Past Matter by Krallice. The album's main strengths lie in it's lush spacey atmosphere, with the hard elements giving it a nice contrast for a fulfilling soundscape, and the album, like most of 90s nu-metal, works best as one whole collective rather than induvidual songs, and whether that is your cup of tea or not is not what I can determine. I can however conclude that this allows for a high replay value of the album, and it is structured for such, long background music for long rainy nights. This is a great album for mood, and who knows, may be one of the better albums released this year.
★★★★☆ Good - Strong flow, immediately grabs you
Alternative rockers Deftones return to studio with Koi No Yukan (which curiously means 'Love's Premonition), and the album's been getting a lot of press attention from reviewers who are mesmerized by the band's ability to convey sharp dynamics between soft and heavy. It's clear that the reviewers are not very musically inclined and the reason for the incredible tone in the group's last album, Diamond Eyes, and this, is their switch to 8-string guitars, which gives off a different sound when distorted than their older 7-string guitars. Having seen astonishing albums put out by Ihsahn and Animals As Leaders who utilize the 8-string effectively, the tone of Koi No Yukan is nothing entirely new. That doesn't mean the album is without its strengths, though.
One characteristic that makes Deftones highly popular with the alternative press is the groups' stellar songwriting capabilities, and all of the Deftones soundscape is already here on this album, ethereal atmospheres, heavy guitars that are used sparsely and many intriguing moments of introspection. The production is fantastically warm yet sharp, a nice paradox that creates a very lively setting for the band's sound, keeping it both introspective and hard-hitting. This spaciousness allows for songs like 'Poltergeist' to truly shine on the album (and may as well be one of my favourite songs here). Is the 8-string guitar fully utilized? My honest answer would be a no, but it's tone does keep some of the mediocre songs engaging, especially toward the second half of the album where the songs start to become too comfortable and lethargic.
There is no push/pull dynamics in this album, at least not in such an epic scale as Tool's work, or like this year's incredible Years Past Matter by Krallice. The album's main strengths lie in it's lush spacey atmosphere, with the hard elements giving it a nice contrast for a fulfilling soundscape, and the album, like most of 90s nu-metal, works best as one whole collective rather than induvidual songs, and whether that is your cup of tea or not is not what I can determine. I can however conclude that this allows for a high replay value of the album, and it is structured for such, long background music for long rainy nights. This is a great album for mood, and who knows, may be one of the better albums released this year.
★★★★☆ Good - Strong flow, immediately grabs you
Saturday 17 November 2012
Rihanna - Unapologetic Review
Rihanna - Unapologetic [Pop]
IT'S THE SAME IT'S THE SAME IT'S THE SAME IT'S THE SAME IT'S THE SAME IT'S THE SAME.
'We're beautiful like diamonds in the sky!' is enough for Beatles fans to tear their hairs out in horror with the modern treatment of the 60 seminal hit. Another one of those cases where the artiste has no variety and decides to use her own life as a source of inspiration, the whole album draws its themes from Rihanna's on-off relationship with Chris Brown and its formula is running thin being spread on the last two of the singer's albums. What's new to review? With David Guetta in production, the sounds are thin, processed and downright hideous. As to why artistes even bother to express sadness and confusion over happy sounds, when it is obviously this juxtaposition that removes any complexity the artiste 'intends' to convey, continues to elude me. Not that I am against this style of music, Kanye West managed to turn his partial biopic into a compelling, convincing work of varied art in 2010's My Dark Twist Fantasy.
On the other hand, Rihanna's latest sees the same overused disco beats, dark imagery which is highly watered down compared to the more depressing releases I have heard this year, and the attention grabbing inclusion of her ex-lover Chris Brown on 'Nobody's Business'. Add to that the effects-laden stacatto vocals employed in the songs to give it an attitude factor, a complete failure in view of the singer's clearly apparent inflexibility in other genres. Elements of rock and raggae and even trance make their way into the soundscape but do nothing to change your opinion of the cookie-cutter songs, they are too safe (the guitar solo in 'What Now' was unnecessary).
Themes and lyrics? Exploring your sick fantasy with bad boys is fine if it's one song but if it envelopes an entire album of 17 songs, it is not just tiring, it is sickening. No song sticks out, nothing new will ever come from artistes whose only intention is to stick to the Billboard Top 40, which is responsible for plastic, uninspired songs of the modern world.
☆☆☆☆☆ For barbarians and bimbos
P.S: Eminem, stop guest staring in these artistes' work and retire at once, goddamit.
IT'S THE SAME IT'S THE SAME IT'S THE SAME IT'S THE SAME IT'S THE SAME IT'S THE SAME.
'We're beautiful like diamonds in the sky!' is enough for Beatles fans to tear their hairs out in horror with the modern treatment of the 60 seminal hit. Another one of those cases where the artiste has no variety and decides to use her own life as a source of inspiration, the whole album draws its themes from Rihanna's on-off relationship with Chris Brown and its formula is running thin being spread on the last two of the singer's albums. What's new to review? With David Guetta in production, the sounds are thin, processed and downright hideous. As to why artistes even bother to express sadness and confusion over happy sounds, when it is obviously this juxtaposition that removes any complexity the artiste 'intends' to convey, continues to elude me. Not that I am against this style of music, Kanye West managed to turn his partial biopic into a compelling, convincing work of varied art in 2010's My Dark Twist Fantasy.
On the other hand, Rihanna's latest sees the same overused disco beats, dark imagery which is highly watered down compared to the more depressing releases I have heard this year, and the attention grabbing inclusion of her ex-lover Chris Brown on 'Nobody's Business'. Add to that the effects-laden stacatto vocals employed in the songs to give it an attitude factor, a complete failure in view of the singer's clearly apparent inflexibility in other genres. Elements of rock and raggae and even trance make their way into the soundscape but do nothing to change your opinion of the cookie-cutter songs, they are too safe (the guitar solo in 'What Now' was unnecessary).
Themes and lyrics? Exploring your sick fantasy with bad boys is fine if it's one song but if it envelopes an entire album of 17 songs, it is not just tiring, it is sickening. No song sticks out, nothing new will ever come from artistes whose only intention is to stick to the Billboard Top 40, which is responsible for plastic, uninspired songs of the modern world.
☆☆☆☆☆ For barbarians and bimbos
P.S: Eminem, stop guest staring in these artistes' work and retire at once, goddamit.
Lana Del Rey - Born To Die / Paradise Review
Lana Del Rey - Born To Die / Paradise [Hipster Music]
Perfect for the Instagram generation, Lana Del Rey's three-million-copies-sold debut Born To Die and her follow-up EP Paradise are inconveniently packaged into one set for 2012 in what can only be desperate attempt into boosting CD sales with the deceiving notion of buying added material, which does not live up to its worth.
It is hard to analyse music in these two CDs without analysing the pampered model who fills in the templates with her overwhelming persona, or possibly, her lack of it. Lana Del Rey has a staggeringly low mezo-soprano voice that is surprisingly well-executed... sparsely. Whilst her singles like 'Video Games' explored her low-pitched vocals, the rest of the album is just the same as any other female pop star who is 'manufactured' for today. Her 'female gangster' attitude is not as convincing as her bigger fans claim.
One of the defining elements of Lana Del Rey's music is the incorporation of strings at glacial pace into her songs, to give it some sort of cinematic feel, and it is clear that her music is a visual as it is aural, but this is precisely what pulls down the albums; the song-writing is mediocre. For songs which are meant to be executed in such a majestic, epic scope, the songs are blatantly radio-friendly songs that are processed to the point of mass consumption, and in all irony, this is showcased exclusively in none other than the track 'Radio', where the songstress' unique voice is altered to sound sickeningly innocent and the song sounds unnatural and awkward. The singer definitely suffers when she reaches into her higher register and that destroys many of the songs in the album and not even the auto-tune can protect the cringe-inducing chorus of 'Carmen'.
With Paradise, the songs sound more accessible and the producers have been smart enough to utilize the elements which made 'Video Games' such a hit, the strings. However, there isn't much you can improve in a year and her high vocals on 'Ride' were enough to turn me off. Themes continue to be about how she failed to get her 'American dream', and lyrics like those in 'Cola' are downright bizarre and trying too hard:
My pussy tastes like Pepsi Cola
My eyes are wide like cherry pies
I got sweet taste for men who're older
It's always been so it's no surprise
And its chorus blatantly rips off the Beatles, the star again gives off a hideous high pitched coo in this song which I cannot stomach.
In a gist, Lana Del Rey's vision of music is visual and her execution is excellent, but the crafting of her songs need some serious work. She might also want to employ a better producer to manage her frightening high pitch.
★★★☆☆ Average - Half of album is listenable
Perfect for the Instagram generation, Lana Del Rey's three-million-copies-sold debut Born To Die and her follow-up EP Paradise are inconveniently packaged into one set for 2012 in what can only be desperate attempt into boosting CD sales with the deceiving notion of buying added material, which does not live up to its worth.
It is hard to analyse music in these two CDs without analysing the pampered model who fills in the templates with her overwhelming persona, or possibly, her lack of it. Lana Del Rey has a staggeringly low mezo-soprano voice that is surprisingly well-executed... sparsely. Whilst her singles like 'Video Games' explored her low-pitched vocals, the rest of the album is just the same as any other female pop star who is 'manufactured' for today. Her 'female gangster' attitude is not as convincing as her bigger fans claim.
One of the defining elements of Lana Del Rey's music is the incorporation of strings at glacial pace into her songs, to give it some sort of cinematic feel, and it is clear that her music is a visual as it is aural, but this is precisely what pulls down the albums; the song-writing is mediocre. For songs which are meant to be executed in such a majestic, epic scope, the songs are blatantly radio-friendly songs that are processed to the point of mass consumption, and in all irony, this is showcased exclusively in none other than the track 'Radio', where the songstress' unique voice is altered to sound sickeningly innocent and the song sounds unnatural and awkward. The singer definitely suffers when she reaches into her higher register and that destroys many of the songs in the album and not even the auto-tune can protect the cringe-inducing chorus of 'Carmen'.
With Paradise, the songs sound more accessible and the producers have been smart enough to utilize the elements which made 'Video Games' such a hit, the strings. However, there isn't much you can improve in a year and her high vocals on 'Ride' were enough to turn me off. Themes continue to be about how she failed to get her 'American dream', and lyrics like those in 'Cola' are downright bizarre and trying too hard:
My pussy tastes like Pepsi Cola
My eyes are wide like cherry pies
I got sweet taste for men who're older
It's always been so it's no surprise
And its chorus blatantly rips off the Beatles, the star again gives off a hideous high pitched coo in this song which I cannot stomach.
In a gist, Lana Del Rey's vision of music is visual and her execution is excellent, but the crafting of her songs need some serious work. She might also want to employ a better producer to manage her frightening high pitch.
★★★☆☆ Average - Half of album is listenable
Calvin Harris - 18 Months Review
Calvin Harris - 18 Months [Pop]
This is definitely not art music but mindless music for the masses.
As a producer, Calvin Harris' identity lies in high pitched, shiny and glossy synth which permeates most of the work, creating an accessible pop sound with electronic trademarks. And while this may make for some nice happy music for the musically oblivious, there is a serious lack of detail in the production for a connoisseur. Beats are loud but dull, and lacking any proper variety, any the shiny sound means that the range of emotion on the songs as a whole remains limited.
Take for example the instruments utilized on 'Feel So Close', the electric guitar and piano. Instead of expressing the polyphonic tones each instruments are capable of, the sound is compressed even when listen to in lossless quality, creating a dull cold sound, which sounds even worse in contrast to the high-pitched synth, which cannot be described as organic either. There is a advantage to this, in that the sound is hardly amiss when compressed into mp3 for iPhones all over the world, but that merely reiterates that this music is for the masses.
The roping in of famous singers seems more to be more of a marketing ploy than any serious consideration of the artiste contributing vocals to it. The monster hit 'We Found Love' with Rihanna is a definite mismatch that can only be consumed by the many die-hard fans of the songstress. Nicky Romero's smooth vocals works well into the light-hearted nature of 'Iron', and Keli brings the first proper song 'Bounce' to life with her slick vocals. Ellie Goulding also creates a childlike innocence which works well with the bright synth on 'I Need Your Love', but elsewhere, the vocalists don't even try to fill their electronic templates intelligently.
Thematically, and lyrically, the album is just boring, cliche and downright shallow. What were you expecting? Songs are hardly discernible from each other with the same chord progression used for all the synth touches thoughout the album. It is not that I hate the genre, but with so many synth pop artistes creating melodic, memorable releases this year (Hot Chip, Beach House, Passion Pit, etc.), there is plenty of reason to forget this.
★★☆☆☆ Passable - One or two good songs, a bit of flow
This is definitely not art music but mindless music for the masses.
As a producer, Calvin Harris' identity lies in high pitched, shiny and glossy synth which permeates most of the work, creating an accessible pop sound with electronic trademarks. And while this may make for some nice happy music for the musically oblivious, there is a serious lack of detail in the production for a connoisseur. Beats are loud but dull, and lacking any proper variety, any the shiny sound means that the range of emotion on the songs as a whole remains limited.
Take for example the instruments utilized on 'Feel So Close', the electric guitar and piano. Instead of expressing the polyphonic tones each instruments are capable of, the sound is compressed even when listen to in lossless quality, creating a dull cold sound, which sounds even worse in contrast to the high-pitched synth, which cannot be described as organic either. There is a advantage to this, in that the sound is hardly amiss when compressed into mp3 for iPhones all over the world, but that merely reiterates that this music is for the masses.
The roping in of famous singers seems more to be more of a marketing ploy than any serious consideration of the artiste contributing vocals to it. The monster hit 'We Found Love' with Rihanna is a definite mismatch that can only be consumed by the many die-hard fans of the songstress. Nicky Romero's smooth vocals works well into the light-hearted nature of 'Iron', and Keli brings the first proper song 'Bounce' to life with her slick vocals. Ellie Goulding also creates a childlike innocence which works well with the bright synth on 'I Need Your Love', but elsewhere, the vocalists don't even try to fill their electronic templates intelligently.
Thematically, and lyrically, the album is just boring, cliche and downright shallow. What were you expecting? Songs are hardly discernible from each other with the same chord progression used for all the synth touches thoughout the album. It is not that I hate the genre, but with so many synth pop artistes creating melodic, memorable releases this year (Hot Chip, Beach House, Passion Pit, etc.), there is plenty of reason to forget this.
★★☆☆☆ Passable - One or two good songs, a bit of flow
Friday 16 November 2012
One Direction - Take Me Home Review
One Direction - Take Me Home [Extreme Unholy Black Metal]
The blazing sun beat down upon the parched earth of my desert prison. Is this a dream, is this a fantasy?There seems to be no signs of intelligent life to aide me as my assailant turns on the stereo. I recognise the disc she has inserted, it is too distinctive. Horrifying, this state of the art instrument of torture, the putrid hymns of the devil emanate forth from speakers that seem like the gates of Hell here on earth as the first overused 4/4 beat starts and angelic voices of Evil sing 'Let's go crazy crazy crazy till we see the Sun, I know we only met but let's pretend it's love, And never, never, never stop for anyone, Tonight let's get some, And live while we're young'. Questions. Questions aplenty spring forth from my logical mind, in such rapid succession that even a quantum theory could not elicit such mental turmoil. What message do these demons intend to convey with such blasphemous lyrics? Is this a one night stand? Is it a prostitute? Tonight let's get some what? And why are they against old people who are still alive? As my mind wrecked upon these unclever contraditions, I saw my torturer smile to herself, and then it hit me. This is how the torture worked. This was the pain. And with my hands handcuffed behind me and my lips black taped, there was absolutely nothing I could do to prevent my ears from bleeding whilst my brain sparked in fury from confusion and aural terror. This is what black metal artistes have always wanted to achieve, a source of music to express the absolute hatred for humanity, and once I heard the lyrics "You can't got to bed without your cup of tea, and maybe that's the reason you talk in your sleep", I realised, this was what hatred felt like. This is without a doubt, one of the finest black metal albums ever released.
★★★★★ Excellent - Undisputed classic for critical listening
The blazing sun beat down upon the parched earth of my desert prison. Is this a dream, is this a fantasy?There seems to be no signs of intelligent life to aide me as my assailant turns on the stereo. I recognise the disc she has inserted, it is too distinctive. Horrifying, this state of the art instrument of torture, the putrid hymns of the devil emanate forth from speakers that seem like the gates of Hell here on earth as the first overused 4/4 beat starts and angelic voices of Evil sing 'Let's go crazy crazy crazy till we see the Sun, I know we only met but let's pretend it's love, And never, never, never stop for anyone, Tonight let's get some, And live while we're young'. Questions. Questions aplenty spring forth from my logical mind, in such rapid succession that even a quantum theory could not elicit such mental turmoil. What message do these demons intend to convey with such blasphemous lyrics? Is this a one night stand? Is it a prostitute? Tonight let's get some what? And why are they against old people who are still alive? As my mind wrecked upon these unclever contraditions, I saw my torturer smile to herself, and then it hit me. This is how the torture worked. This was the pain. And with my hands handcuffed behind me and my lips black taped, there was absolutely nothing I could do to prevent my ears from bleeding whilst my brain sparked in fury from confusion and aural terror. This is what black metal artistes have always wanted to achieve, a source of music to express the absolute hatred for humanity, and once I heard the lyrics "You can't got to bed without your cup of tea, and maybe that's the reason you talk in your sleep", I realised, this was what hatred felt like. This is without a doubt, one of the finest black metal albums ever released.
★★★★★ Excellent - Undisputed classic for critical listening
Monday 12 November 2012
Indian Themed Music For Deepavali
Ten songs with Indian themes for Deepavali!
1. Igorrr & Indian Sonic - Grodji [Electronic]
2. The Down Troddence - Shiva [Metal]
3. Tool - Reflection [Psychedelic]
4. Anoushka Shankar - Easy (ft. Norah Jones) [Contemporary Pop]
5. Ananda Shankar - Streets Of Calcutta [Funk]
6. Rudra - Homage To The Seers [World]
7. The Beatles - Within You Without You [Rock]
8. Serotura - 3 Rivers & An Ocean [Progressive]
9. Tribali - Elephants Of Lanka [World]
10. Jeff Loomis - Cashmere Shiv [Metal Instrumental]
Have a happy Deepavali!
1. Igorrr & Indian Sonic - Grodji [Electronic]
2. The Down Troddence - Shiva [Metal]
3. Tool - Reflection [Psychedelic]
4. Anoushka Shankar - Easy (ft. Norah Jones) [Contemporary Pop]
5. Ananda Shankar - Streets Of Calcutta [Funk]
6. Rudra - Homage To The Seers [World]
7. The Beatles - Within You Without You [Rock]
8. Serotura - 3 Rivers & An Ocean [Progressive]
9. Tribali - Elephants Of Lanka [World]
10. Jeff Loomis - Cashmere Shiv [Metal Instrumental]
Have a happy Deepavali!
Sunday 11 November 2012
PSMS (Portnoy, Sheehan, Macalpine, Sherinian) Live In Singapore
The four American rockers performed, courtesy of Inokii, at TAB Orchard Hotel last night in front of a crowd of about 200 people.
Satthia and I started queuing outside TAB at around 5.30 pm (doors were at 7 pm, according to the tickets); we were something like third in line. By around 6.30, the line had lengthened to over a hundred long. What, then, did the organisers do? Let us in early? No, they saw it as a chance to flog off merch. However, in a rather comic sequence of events, the guy and girl trying to sell posters couldn't even get a single customer amongst the hundred-odd-strong crowd.
What did the organisers do next then? Well, as has always been standard procedure, they conducted bag checks on everyone in the queue (funnily enough, they would do a second round of bag checks as we streamed into the venue). Way to hold us up outside, fools!
Anyway, after all that shambles, we got into TAB and took some time to check out the available merchandise. There was, disappointingly, very little purely PSMS-related material; rather, each individual performer's solo material was on sale. Satthia and I decided to pass on the merch and instead grab drinks and head over to the standing area. We managed to get spots right at the foot of the part of the stage where Derek Sherinian's keyboard rig stood.
The crowd (which by then - around 7.10pm - had ballooned to a couple of hundred people) initially stood and waited in anticipation, but soon got bored after having to wait through around half an hour of random music filtering out of the speaker systems, with not a single performer in sight.
Suddenly, at 7.45pm, the music stopped and was replaced by one of those tension-building, bass-heavy tracks. Smoke started rising from the back of the stage. The crowd went wild; their heroes were arriving. One by one, Tony Macalpine, Billy Sheehan, Derek Sherinian and finally Mike Portnoy took to the stage and immediately broke into song.
At this point, I have to confess; I had done very little research on PSMS before attending their gig - I was there precisely because I have long been a fan of each individual musician's work, rather than their collective production. Still, I was hugely impressed by what I was seeing and hearing; the four guys were obviously taking it easy and having fun, yet still playing out of their minds and driving the crowd wild with their complex lines and mindblowing solos.
The character dynamics of the four musicians were plain to see; Sheehan and Portnoy, the most outspoken members of the group, were taking turns to mock-'stage hog', what with Portnoy's liberal use of stick tricks and contorted facial expressions and Sheehan, all six-foot-something of him, taking up dozens of different rock-star poses with his bass and always shifting to the front of the stage to engage the crowd. Sherinian, the group's serious one, always had this intense glare on his face as he pulled out riff after riff, counterpoint after counterpoint and solo after solo on his rig. Macalpine was just chilling in the centre of the stage, dishing out blistering solos while wearing the expression of a contented retiree relaxing on a beach, lemonade in one hand and novel in the other.
It was obvious that the four guys genuinely enjoyed playing with each other (as well as with the audience) and weren't just there to show off or rake in quick cash.
Tunes like Planet X's 'Apocalypse 1470 BC', Dream Theater's 'A Change of Seasons' and 'Lines in the Sand' and Tony Macalpine's 'Edge of Insanity' were gleefully lapped up by the audience, most of whom were, refreshingly to see, pretty familiar with the work of at least one out of the four musicians.
Of course, one does not go to a gig like this without mentioning the solo segments of each artist. Billy Sheehan's bass solo - performed with all the other members offstage taking a break - was, for me, the best among the four. On top of his usual frenetic shredding, Sheehan added in sprinkles from tunes like the ever-beloved 'To Be With You' and displayed his trademark showmanship and style.
Overall, the gig was a joy to behold, both musically and in terms of performances. There were a few minor letdowns along the way: firstly, standing so close to Sherinian's rig meant that at times we couldn't quite hear Sheehan's bass and especially Macalpine's guitar; secondly, the sound tech kept screwing with Sherinian's levels (to the point where midway through the gig, his default expression was a death-stare towards the general direction of the sound board); thirdly, the number of monkeys waving their iPods, iPads and whatever with no consideration for the viewing pleasure of others was way too high and finally, the bouncers and security crew kept being wet blankets and discouraging us from staying close to the stage (the whole crowd just ignored them after a while).
However, that's not to say that any of the abovementioned incidents was able to take away from what was a truly marvelous and worthwhile performance. If, as expected, PSMS release a DVD of their set, I will hunt it down.
Satthia and I started queuing outside TAB at around 5.30 pm (doors were at 7 pm, according to the tickets); we were something like third in line. By around 6.30, the line had lengthened to over a hundred long. What, then, did the organisers do? Let us in early? No, they saw it as a chance to flog off merch. However, in a rather comic sequence of events, the guy and girl trying to sell posters couldn't even get a single customer amongst the hundred-odd-strong crowd.
What did the organisers do next then? Well, as has always been standard procedure, they conducted bag checks on everyone in the queue (funnily enough, they would do a second round of bag checks as we streamed into the venue). Way to hold us up outside, fools!
Anyway, after all that shambles, we got into TAB and took some time to check out the available merchandise. There was, disappointingly, very little purely PSMS-related material; rather, each individual performer's solo material was on sale. Satthia and I decided to pass on the merch and instead grab drinks and head over to the standing area. We managed to get spots right at the foot of the part of the stage where Derek Sherinian's keyboard rig stood.
The crowd (which by then - around 7.10pm - had ballooned to a couple of hundred people) initially stood and waited in anticipation, but soon got bored after having to wait through around half an hour of random music filtering out of the speaker systems, with not a single performer in sight.
Suddenly, at 7.45pm, the music stopped and was replaced by one of those tension-building, bass-heavy tracks. Smoke started rising from the back of the stage. The crowd went wild; their heroes were arriving. One by one, Tony Macalpine, Billy Sheehan, Derek Sherinian and finally Mike Portnoy took to the stage and immediately broke into song.
At this point, I have to confess; I had done very little research on PSMS before attending their gig - I was there precisely because I have long been a fan of each individual musician's work, rather than their collective production. Still, I was hugely impressed by what I was seeing and hearing; the four guys were obviously taking it easy and having fun, yet still playing out of their minds and driving the crowd wild with their complex lines and mindblowing solos.
The character dynamics of the four musicians were plain to see; Sheehan and Portnoy, the most outspoken members of the group, were taking turns to mock-'stage hog', what with Portnoy's liberal use of stick tricks and contorted facial expressions and Sheehan, all six-foot-something of him, taking up dozens of different rock-star poses with his bass and always shifting to the front of the stage to engage the crowd. Sherinian, the group's serious one, always had this intense glare on his face as he pulled out riff after riff, counterpoint after counterpoint and solo after solo on his rig. Macalpine was just chilling in the centre of the stage, dishing out blistering solos while wearing the expression of a contented retiree relaxing on a beach, lemonade in one hand and novel in the other.
It was obvious that the four guys genuinely enjoyed playing with each other (as well as with the audience) and weren't just there to show off or rake in quick cash.
Tunes like Planet X's 'Apocalypse 1470 BC', Dream Theater's 'A Change of Seasons' and 'Lines in the Sand' and Tony Macalpine's 'Edge of Insanity' were gleefully lapped up by the audience, most of whom were, refreshingly to see, pretty familiar with the work of at least one out of the four musicians.
Of course, one does not go to a gig like this without mentioning the solo segments of each artist. Billy Sheehan's bass solo - performed with all the other members offstage taking a break - was, for me, the best among the four. On top of his usual frenetic shredding, Sheehan added in sprinkles from tunes like the ever-beloved 'To Be With You' and displayed his trademark showmanship and style.
Overall, the gig was a joy to behold, both musically and in terms of performances. There were a few minor letdowns along the way: firstly, standing so close to Sherinian's rig meant that at times we couldn't quite hear Sheehan's bass and especially Macalpine's guitar; secondly, the sound tech kept screwing with Sherinian's levels (to the point where midway through the gig, his default expression was a death-stare towards the general direction of the sound board); thirdly, the number of monkeys waving their iPods, iPads and whatever with no consideration for the viewing pleasure of others was way too high and finally, the bouncers and security crew kept being wet blankets and discouraging us from staying close to the stage (the whole crowd just ignored them after a while).
However, that's not to say that any of the abovementioned incidents was able to take away from what was a truly marvelous and worthwhile performance. If, as expected, PSMS release a DVD of their set, I will hunt it down.
Friday 2 November 2012
Wild Nothing - Nocturne Review
Wild Nothing - Nocturne [Shoegaze]
Wild Nothing is a project by one man, Jack Tatum, who draws from dream pop, indie rock and shoegaze as the base of his sound. The result is technically the same as in other shoegaze albums, sweet melodies, windy vocals, drenched atmosphere and fuzzy production, but there are subtle differences that make the album stand out from the indie hipster scene (I'm looking at you, xx).
Whilst most bands in this genre seem to think that fuzzy production is the base of such music, Tatum has emphasised a lot on proper melodies that are bittersweet and never sound forced and overwritten. In fact, it is a modest album bereft of any affiliation with hipsters, and Tatum is self-aware in his song-writing, which is needless to say, one of the best of this year's astonishing music releases. Guitar technicality is a definitely plus, and the sleep riffs in this album have more creativity and ambition than anything Coldplay has ever attempted (case in point, the acoustic guitar solo that pops up abruptly in 'Through The Grass').
Songwriting-wise, Tatum's delivery is not rushed or overly long; timing being one of the biggest pitfalls of shoegazing music. He does not waste time repeating melodic sections and despite the slow pace of the music, the songs allow themselves to draw enough attention before overstaying their welcome. Part of this can be owed to the subtle song variations sneaked into the song templates that may not be so discernible in the mix unless the listener owns proper headphones. Usage of electronic synth, and a decent variety and not the same sound effects, use of strings and some actual effort in vocals, going from low-pitched solemn singing to high-pitched cooing in various songs. Guitar driven melodies like the title track and lead single 'The Blue Dress' spout classic rock moments whilst songs like 'Shadow' and 'Paradise' are driven by their melodic themes which at once make them more visual then aural, and elsewhere drums play a very important part in the pulse of more upbeat songs like 'Only Heather' and 'Paradise', helping to break apart the monotony of the stoner pace on the other songs, and the variety keeps the album fresh instead of becoming a dud after few spins. Tatum's unorthodox song-writing also manifests itself in 'Counting Days', where the countermelody of the guitar is the hook as opposed to the synth harmony that defines chorus. Smart,suave dynamics like this save the album from falling to mediocrity.
I wouldn't say this is my favourite indie/dream pop/shoegaze album this year, (Lotus Plaza probably still holds the cake for that title), but it is definitely a strong release that won't go unnoticed by true music connoisseurs. I highly recommend this album for fans of the genre or for people who want a nice slow change of pace.
★★★★☆ Good - Strong flow, immediately grabs you
Wild Nothing is a project by one man, Jack Tatum, who draws from dream pop, indie rock and shoegaze as the base of his sound. The result is technically the same as in other shoegaze albums, sweet melodies, windy vocals, drenched atmosphere and fuzzy production, but there are subtle differences that make the album stand out from the indie hipster scene (I'm looking at you, xx).
Whilst most bands in this genre seem to think that fuzzy production is the base of such music, Tatum has emphasised a lot on proper melodies that are bittersweet and never sound forced and overwritten. In fact, it is a modest album bereft of any affiliation with hipsters, and Tatum is self-aware in his song-writing, which is needless to say, one of the best of this year's astonishing music releases. Guitar technicality is a definitely plus, and the sleep riffs in this album have more creativity and ambition than anything Coldplay has ever attempted (case in point, the acoustic guitar solo that pops up abruptly in 'Through The Grass').
Songwriting-wise, Tatum's delivery is not rushed or overly long; timing being one of the biggest pitfalls of shoegazing music. He does not waste time repeating melodic sections and despite the slow pace of the music, the songs allow themselves to draw enough attention before overstaying their welcome. Part of this can be owed to the subtle song variations sneaked into the song templates that may not be so discernible in the mix unless the listener owns proper headphones. Usage of electronic synth, and a decent variety and not the same sound effects, use of strings and some actual effort in vocals, going from low-pitched solemn singing to high-pitched cooing in various songs. Guitar driven melodies like the title track and lead single 'The Blue Dress' spout classic rock moments whilst songs like 'Shadow' and 'Paradise' are driven by their melodic themes which at once make them more visual then aural, and elsewhere drums play a very important part in the pulse of more upbeat songs like 'Only Heather' and 'Paradise', helping to break apart the monotony of the stoner pace on the other songs, and the variety keeps the album fresh instead of becoming a dud after few spins. Tatum's unorthodox song-writing also manifests itself in 'Counting Days', where the countermelody of the guitar is the hook as opposed to the synth harmony that defines chorus. Smart,suave dynamics like this save the album from falling to mediocrity.
I wouldn't say this is my favourite indie/dream pop/shoegaze album this year, (Lotus Plaza probably still holds the cake for that title), but it is definitely a strong release that won't go unnoticed by true music connoisseurs. I highly recommend this album for fans of the genre or for people who want a nice slow change of pace.
★★★★☆ Good - Strong flow, immediately grabs you
Friday 26 October 2012
Swans - The Seer Review
Swans - The Seer [Post-Punk / Experimental Rock]
IMMENSE. This is the best way to sum up the album: IMMENSE. Boasting a solid two hours, with so much going on at a microscopic and macroscopic level. The album was definitely a headache, digesting it was one thing, picking up things about it to analyze is even harder. But as a critic, an album this huge in scope is like a dream come true, for once, an album has taken over a month of critical listening and still presents itself as bold, disturbing, futuristic and epic at the same time.
The album starts off with 'Lunacy', a track that has such powerful dynamics as it gains momentum over its 4 minutes before collapsing to a melancholic closure with the words "Your childhood is over-" over and over again. It's precise, and creates a sense of doom, almost meditative (as the entire album is) without sounding repetitive, with Alan Sparhawk & Mimi Parker providing a nice harmony with band leader Michael Gira. It is a strong track, because not only is it great to listen to on its own, it sets the pace of the album and serves excellently well as an album opener, introducing everything you can expect from the album without wearing you out, the weirdness, the dynamic song variations within the same song, the minimalist lyrics and the unorthodox vocals, it is all there.
'Mother Of The World' is the second song and already throws at you another oddball, with its opening polyrhythmic drum and guitars creating some weird, tense time signatures while Michael Gira just... breathes to the rhythm? The weird pattern slowly accumulates atmospheric drones and added ghost notes as the bass comes in to complicate things more before weird atonal Red Indian vocals come in. Organ chimes add that haunting touch, light but never overpowering and doing just what it should. This song is haunting in a way I cannot explain, perhaps it's how everything seems to work in perfect harmony even in its apparent friction with the next instrument. The vocals are pushed to the front but are still processed, sounding near but distant, like you are divided by a veil that allows you to observe what is happening but never allowing you to become engulfed in the music, but overwhelmed just by looking in it. Michael Gira seems to take this point of view on his music, singing with self-awareness and pity but at the same time trying to seem like he doesn't care, and the combination of this with the beautiful dulcimer, sitar and distant flamenco guitars at the end creates a beautifully complex soundscape where each instrument contributes to the bigger picture.
'The Wolf' is a fantastic bridge between the preceding and succeeding song, minimalist in delivery but effectively bringing in field noise halfway to signal the closure of 'Mother Of The World' and the beginning of the albums first epic track, the 32 minute long title track, which opens with a burst of bagpipes and a wild clarinet solo and the dulcimer plucking away furiously. The transitions are so smooth you will not be able to tell if it's another song or still the same song, and here the use of drone and doom atmospheres make itself aurally discernible. The rhythms may seem repetitive to the impatient listener, but they are the key to the smooth transitions, seamlessly blending or fading into the next musical segue, which are aplenty in this title track alone. As always, the lyrics are minimal as Michael Gira simply chants "I see it all I see it all-" as the music picks up, before the instruments climax close to the mid end of the song, but strangely do not sound overwhelming, as they do cancelling each other's instruments out, which is novel songwriting right there. In a way, the songs sound like they are killing themselves and always leave the listener baffled at true intentions of the song.
Catharsis is definitely the main motif of the album, as evident in the band's love for psychedelia in their earlier records in the 80s, but here, it seems to become a powerful theme, and more effective. This album proves to be more than music, more like an experience. It is epic in scope, and it tires you out crazy, and the featured artistes such as Karen O and Jarboe are succinct and precise, never overstaying their welcome and acting as if they are definitely meant to be included in the music, unlike a lot of the stars you see today who collaborate merely for more attention from both party's fans.
The philosophical and abstract intentions of this album. Tension plays its part very well in the dramatic and uneven, forced notes and beats (look at the chilling '93 Ave. B Blues', it is sonic devastation, conjuring dark images that are delightfully vague and personal, it is the kind of sound I would envision making itself comfortable in a gory body-horror film). Karen O's soothing vocals are almost a sigh of relief, a beautiful, euphoric song in 'Song For A Warrior', almost as if to assuage the listener from the wounds inflicted from the dissonant cacophony of the first half of the album, and as said, flows well into the relatively upbeat 'Avatar' or the rest of the album actually. The final two epics, 'A Piece Of The Sky' and 'The Apostate' feature relatively... "happy" beats but are jut as complicated as the first half of songs, with bell chimes and gang vocals swarming in and out and polyrhythms never letting up even towards the end.
I must now revise the ratings I have given to previous albums, because for the first time in 2012, there is an album that definitely worthy of the perfect rating and fit to be deemed a classic. This album will no doubt be creating lots of polarizing views, and it's eliciting of influences from all the negative genres of music: psychedelia, doom metal, noise, experimental jazz and tribal, is sure to scare people if the sheer size and length doesn't, but for those who are open-minded and willing to crack this album, this is pure gold.
★★★★★ Excellent - Undisputed classic for critical listening
✔ Satthy's Recommended Choice
IMMENSE. This is the best way to sum up the album: IMMENSE. Boasting a solid two hours, with so much going on at a microscopic and macroscopic level. The album was definitely a headache, digesting it was one thing, picking up things about it to analyze is even harder. But as a critic, an album this huge in scope is like a dream come true, for once, an album has taken over a month of critical listening and still presents itself as bold, disturbing, futuristic and epic at the same time.
The album starts off with 'Lunacy', a track that has such powerful dynamics as it gains momentum over its 4 minutes before collapsing to a melancholic closure with the words "Your childhood is over-" over and over again. It's precise, and creates a sense of doom, almost meditative (as the entire album is) without sounding repetitive, with Alan Sparhawk & Mimi Parker providing a nice harmony with band leader Michael Gira. It is a strong track, because not only is it great to listen to on its own, it sets the pace of the album and serves excellently well as an album opener, introducing everything you can expect from the album without wearing you out, the weirdness, the dynamic song variations within the same song, the minimalist lyrics and the unorthodox vocals, it is all there.
'Mother Of The World' is the second song and already throws at you another oddball, with its opening polyrhythmic drum and guitars creating some weird, tense time signatures while Michael Gira just... breathes to the rhythm? The weird pattern slowly accumulates atmospheric drones and added ghost notes as the bass comes in to complicate things more before weird atonal Red Indian vocals come in. Organ chimes add that haunting touch, light but never overpowering and doing just what it should. This song is haunting in a way I cannot explain, perhaps it's how everything seems to work in perfect harmony even in its apparent friction with the next instrument. The vocals are pushed to the front but are still processed, sounding near but distant, like you are divided by a veil that allows you to observe what is happening but never allowing you to become engulfed in the music, but overwhelmed just by looking in it. Michael Gira seems to take this point of view on his music, singing with self-awareness and pity but at the same time trying to seem like he doesn't care, and the combination of this with the beautiful dulcimer, sitar and distant flamenco guitars at the end creates a beautifully complex soundscape where each instrument contributes to the bigger picture.
'The Wolf' is a fantastic bridge between the preceding and succeeding song, minimalist in delivery but effectively bringing in field noise halfway to signal the closure of 'Mother Of The World' and the beginning of the albums first epic track, the 32 minute long title track, which opens with a burst of bagpipes and a wild clarinet solo and the dulcimer plucking away furiously. The transitions are so smooth you will not be able to tell if it's another song or still the same song, and here the use of drone and doom atmospheres make itself aurally discernible. The rhythms may seem repetitive to the impatient listener, but they are the key to the smooth transitions, seamlessly blending or fading into the next musical segue, which are aplenty in this title track alone. As always, the lyrics are minimal as Michael Gira simply chants "I see it all I see it all-" as the music picks up, before the instruments climax close to the mid end of the song, but strangely do not sound overwhelming, as they do cancelling each other's instruments out, which is novel songwriting right there. In a way, the songs sound like they are killing themselves and always leave the listener baffled at true intentions of the song.
Catharsis is definitely the main motif of the album, as evident in the band's love for psychedelia in their earlier records in the 80s, but here, it seems to become a powerful theme, and more effective. This album proves to be more than music, more like an experience. It is epic in scope, and it tires you out crazy, and the featured artistes such as Karen O and Jarboe are succinct and precise, never overstaying their welcome and acting as if they are definitely meant to be included in the music, unlike a lot of the stars you see today who collaborate merely for more attention from both party's fans.
The philosophical and abstract intentions of this album. Tension plays its part very well in the dramatic and uneven, forced notes and beats (look at the chilling '93 Ave. B Blues', it is sonic devastation, conjuring dark images that are delightfully vague and personal, it is the kind of sound I would envision making itself comfortable in a gory body-horror film). Karen O's soothing vocals are almost a sigh of relief, a beautiful, euphoric song in 'Song For A Warrior', almost as if to assuage the listener from the wounds inflicted from the dissonant cacophony of the first half of the album, and as said, flows well into the relatively upbeat 'Avatar' or the rest of the album actually. The final two epics, 'A Piece Of The Sky' and 'The Apostate' feature relatively... "happy" beats but are jut as complicated as the first half of songs, with bell chimes and gang vocals swarming in and out and polyrhythms never letting up even towards the end.
I must now revise the ratings I have given to previous albums, because for the first time in 2012, there is an album that definitely worthy of the perfect rating and fit to be deemed a classic. This album will no doubt be creating lots of polarizing views, and it's eliciting of influences from all the negative genres of music: psychedelia, doom metal, noise, experimental jazz and tribal, is sure to scare people if the sheer size and length doesn't, but for those who are open-minded and willing to crack this album, this is pure gold.
★★★★★ Excellent - Undisputed classic for critical listening
✔ Satthy's Recommended Choice
Featured Artiste: Opposition Party
This is a request from JungleKid (look right to the hidden cbox that only smart people have noticed). Rather than go through the band's history as I have with earlier featured artistes, I will share my thoughts on two of the albums I have from this band, namely a compilation entitled 'The Chaotic Years' and their latest LP from 2005, Zombified. Opposition Party can be described as 80s influenced punk, because duhh they formed in the 80s, but have slowly integrated thrash metal as part of their sound over the years. This isn't groundbreaking though, interviews with Slayer and Metallica have shown that punk was the trigger that helped in the development of thrash metal.
Chaotic Years 1989 - 1995
These tracks are supposedly mulled from the band's earlier cassettes, and this shows in the atrocious quality of the recordings, distorted and scarred beyond recognition (incidentally the band's earliest songs 'Brain Fucked'. 'Zombified', 'Ignorance' and 'Taking Us For Fools' would be rerecorded thrash metal style on their subsequent CD, Zombified). Getting past production value, the band reveals itself to be no slouch technically, but never compromise technicality for song-writing. However, how much of an impact does their song-writing have? Taking the point of view from 2012, these two-decade old songs do no seem to have stood the test of time. The sound production was definitely vintage, and there is decent variation in song-writing, the clean intro of 'Suicide Bound' definitely shocked me. However, the vocals leave a lot to be desired, personally, lacking the detachment represented in punk songs from that era, and the energy demanded in thrash metal. Instead, band leader Francis' vocals tread the line between this two, but never managed to create an impact on me. The lack of clarity in enunciation of lyrics also creates a sort of detachment between me and the music, which is a fatal flaw for anarchic punk. However, as said, the guitar work and bass makes up a lot for the music.
An interesting thing about this compilation is that the chronological placement of the tracks have a nice progression, as you see the sound of the band slowly change over time, with the change of atmosphere beginning from 'Dance Of Fire' with its palm-muted riffs reminiscent of early 90s death metal, and a marked change in Francis' vocals, though they never quite make the cut for me.
As said, the music is good, but it does not quite stand the test of time. Marred by the same flaws most local bands have; poor production and poor vocals, this is a hideous irritation because the songs here are very enjoyable, and songs like 'Impending Death' and 'Lonely Realm', by which time the band's songwriting has vastly improved, could have huge potential that could have been a pleasure to experience live, but have no power in studio. Also, the band doesn't have anything unique to offer, it is basically treading the same paths of punk bands all over the world, with the same vocal work and some decent guitar/bass flare. I draw in comparison the local band Rudra. Basically they play black metal but they have stood out from the world and given their own ethnic twist on their genre, even though the band was also marred by the same problems that this band had in their earlier years. Also case in point; a band with the same themes but who have managed to bring their songs to local context; Truth Be Known with their tongue-in-cheek remarks at local ministers. You want something Singaporean from a local band, not a half-baked imitation of the international scene. This would be a nice twist for the band that isn't making full potential of its musical skill.
★★★☆☆ Average - Half of album is listenable
Zombified
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The rerecording shows one secret weapon this band has that I don't think anyone else in Singapore would have: Kazz's bass. From start to end, the basslines dominate the songs, which is quite a pleasure to listen to, and the thought that such musicians can come up in the local scene will definitely bring some pride to listeners. Francis' vocals seem to have a more metal edge to them and it definitely works better with the music.
However, the production is still... lethargic. As said earlier, the band continues to struggle with creating a unique identity. There is also a clash of ideas with the band's new thrash metal stylings, you can see that there is an added emphasis on guitar, but unlike the older songs, the guitars seem uninspired and tired, which must be a flaw in the mix (whoever processes the band's songs ought to be shot). The sterile sound production surely helps Kazz's bass, but this destroys the band's overall sound. The drums by session drummer Alfe sound weak and needle-like, not sharp but whiny. Francis' and Lee's guitar, while technical, seem confused as to whether to go for the tasteful, youthful energy of punk or the technical shred glory of thrash metal, and in attempting to do so sound conflicting and half-baked. There are many times you wish the band was heavier, but the production does not allow for it.
Elsewhere there are several wonderful moments in the songs, the use of police sirens wailing at the back of 'It's Chaos' is definitely unexpected and tasteful, but by no means original. The choruses, while predictable (usually just the title of the song over the riff) are catchy and can definitely translate well in live performances - case in point- 'Good People'.
With a push in proper guitar leads and a heavier sound, this band could be huge, not that it already isn't, but that is my two cents la.
★★★☆☆ Average - Half of album is listenable
Chaotic Years 1989 - 1995
These tracks are supposedly mulled from the band's earlier cassettes, and this shows in the atrocious quality of the recordings, distorted and scarred beyond recognition (incidentally the band's earliest songs 'Brain Fucked'. 'Zombified', 'Ignorance' and 'Taking Us For Fools' would be rerecorded thrash metal style on their subsequent CD, Zombified). Getting past production value, the band reveals itself to be no slouch technically, but never compromise technicality for song-writing. However, how much of an impact does their song-writing have? Taking the point of view from 2012, these two-decade old songs do no seem to have stood the test of time. The sound production was definitely vintage, and there is decent variation in song-writing, the clean intro of 'Suicide Bound' definitely shocked me. However, the vocals leave a lot to be desired, personally, lacking the detachment represented in punk songs from that era, and the energy demanded in thrash metal. Instead, band leader Francis' vocals tread the line between this two, but never managed to create an impact on me. The lack of clarity in enunciation of lyrics also creates a sort of detachment between me and the music, which is a fatal flaw for anarchic punk. However, as said, the guitar work and bass makes up a lot for the music.An interesting thing about this compilation is that the chronological placement of the tracks have a nice progression, as you see the sound of the band slowly change over time, with the change of atmosphere beginning from 'Dance Of Fire' with its palm-muted riffs reminiscent of early 90s death metal, and a marked change in Francis' vocals, though they never quite make the cut for me.
As said, the music is good, but it does not quite stand the test of time. Marred by the same flaws most local bands have; poor production and poor vocals, this is a hideous irritation because the songs here are very enjoyable, and songs like 'Impending Death' and 'Lonely Realm', by which time the band's songwriting has vastly improved, could have huge potential that could have been a pleasure to experience live, but have no power in studio. Also, the band doesn't have anything unique to offer, it is basically treading the same paths of punk bands all over the world, with the same vocal work and some decent guitar/bass flare. I draw in comparison the local band Rudra. Basically they play black metal but they have stood out from the world and given their own ethnic twist on their genre, even though the band was also marred by the same problems that this band had in their earlier years. Also case in point; a band with the same themes but who have managed to bring their songs to local context; Truth Be Known with their tongue-in-cheek remarks at local ministers. You want something Singaporean from a local band, not a half-baked imitation of the international scene. This would be a nice twist for the band that isn't making full potential of its musical skill.
★★★☆☆ Average - Half of album is listenable
Zombified
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The rerecording shows one secret weapon this band has that I don't think anyone else in Singapore would have: Kazz's bass. From start to end, the basslines dominate the songs, which is quite a pleasure to listen to, and the thought that such musicians can come up in the local scene will definitely bring some pride to listeners. Francis' vocals seem to have a more metal edge to them and it definitely works better with the music.However, the production is still... lethargic. As said earlier, the band continues to struggle with creating a unique identity. There is also a clash of ideas with the band's new thrash metal stylings, you can see that there is an added emphasis on guitar, but unlike the older songs, the guitars seem uninspired and tired, which must be a flaw in the mix (whoever processes the band's songs ought to be shot). The sterile sound production surely helps Kazz's bass, but this destroys the band's overall sound. The drums by session drummer Alfe sound weak and needle-like, not sharp but whiny. Francis' and Lee's guitar, while technical, seem confused as to whether to go for the tasteful, youthful energy of punk or the technical shred glory of thrash metal, and in attempting to do so sound conflicting and half-baked. There are many times you wish the band was heavier, but the production does not allow for it.
Elsewhere there are several wonderful moments in the songs, the use of police sirens wailing at the back of 'It's Chaos' is definitely unexpected and tasteful, but by no means original. The choruses, while predictable (usually just the title of the song over the riff) are catchy and can definitely translate well in live performances - case in point- 'Good People'.
With a push in proper guitar leads and a heavier sound, this band could be huge, not that it already isn't, but that is my two cents la.
★★★☆☆ Average - Half of album is listenable
Kamelot - Silverthorn Review
Kamelot's tenth album marks the debut of new vocalist Tommy Karevik, who has the unenviable task of replacing/outdoing/obliterating all memories of former vocalist and undisputed fan favourite Roy Khan.
Silverthorn is a concept album that chronicles the fictitious journey of a girl called Jolee (who is depicted on the cover).
The concept is worthy and the band must be commended for their attempt, but ultimately I do not find the premise gripping enough.
On to the actual music - things don't get a whole lot better here, unfortunately, and I say this with a great deal of disappointment as a Kamelot fan.
Superficially, many of the 'expected' Kamelot elements are present in the album: dramatic, operatic vocals, steady and tasteful drumming from Casey Grillo, the usual keyboard sprinkles and more.
A deeper look, however, will reveal the following:
- Tommy Karevik is clearly a competent and respectable vocalist. However, he makes the grave mistake of trying too hard to emulate Roy Khan and falls flat. I'm not one of those MARTY FRIEDMAN WILL ALWAYS BE MEGADETH'S BEST GUITARIST LOL types who clings onto the past, but it's painfully obvious that Karevik is way out of his depth trying to be the second Roy Khan.
- The spoken word segments in some of the songs don't add a great deal in the way of either atmosphere and meaning. They do at times get fairly annoying.
- Guitarist and founding member Thomas Youngblood hasn't improved one jot as a musician or composer since the last album. It seems that he's content to just coast through his career with the band, which is disappointing.
- The guest vocals from Elize Ryd and Alissa White-Gluz don't add a great deal to the songs. The two ladies are obviously talented (White-Gluz packs a mean scream) but here, their vocals have been edited and processed to death and as a result sound sterile. Kamelot has in the past worked wonders with guest vocalists - this time around, the same cannot be said.
Not all is doom and gloom with the album, however: keyboardist Oliver Palotai seems to be reveling in his newly-increased role with the band and puts out a few snazzy lines and solos, drummer Grillo is his usual solid, steady self (if a bit restrained) and bassist Sean Tibbetts holds everything together with his understated style. The production is clean-cut as well and a marked improvement from earlier albums.
However, when compared with past efforts, this album doesn't fare very well at all. The songwriting is unusually bland (a huge let-down considering what the band members are typically capable of), the vocals are overprocessed and a tad try-hardy and the guitar work from Youngblood is mediocre (as has always been the case, but you always hope for something positive with each album).
Fans of Kamelot or power metal/operatic music in general, don't expect a lot from this album.Rating: ★★☆☆☆ Passable - One or two good songs, a bit of flow
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