Atoms For Peace - AMOK Review

Atoms For Peace - AMOK [Electronica / Indie]

It's hard to ignore this album with two juggernaut artistes on it, namely Thom Yorke of Radiohead and Flea of Red Hot Chilli Peppers. I will be the first to admit that I am a Radiohead fanboy, especially in the wake of their last two beautiful albums, that could easily be in my best of lists for albums any time. I am going to try and review this impartially.


Thom Yorke's presence is huge here though, and his electronica washes completely dominate any other analogue music here even if he was expecting a harmonious marriage. Not that experimentation is a problem, but Radiohead's prime was in guitar-centric anthems on OK Computer, and Yorke has been a supporting guitarist himself. Does his electronica sound convincing? Yes and no.

On the plus side, there is 'Default'. A fantastic track with an angry, futuristic electronic beat that juxtaposes superbly well with Yorke's famous nasal croons, and Yorke effectively uses the synth here because no instrument could reciprocate the beat of the song here. This is forward thinking music that does not neglect the songcraft of the 90s, and could easily be one of the best non-metal songs of the year.

Another thing that strikes me here is how energetic and colourful the album is, as compared to Yorke's earlier career. The percussionists are really good in bringing out complex, yet palatable rhythms, and the album has a lot of syncopated polyrhythms, a rarity in popular music though the DNA has had its straints on Radiohead's The King Of Limbs. This are all, again, pitted against Yorke's sleepy vocals (you have got to admire his abstinence from vocal effects though out the album) and they create a dense sonic sound although this pretty much the norm on electronic music.

The problem however, is when both sides fail to gel well with each other. Flea's bass is pretty much in your face, even more obvious with the deliberate absence of guitar texture, and when he brings in the funky rhythms, Yorke is still in sleep mode. The music, even in its uplifting tempos and complexity, sound flat. Thom Yorke should have allowed his voice to be more dynamic, because the clash works on some songs ('Defualt', 'Dropped', 'Judge, Jury & Executioner', 'Reverse Running' and the title track), but overall, it sounds overused, bland and well, disappointing. I may dig this album, but as far as professionality goes? This is below the standard of the Radiohead we come to love. Decent, not too good.

★★★☆☆ 

Suffocation - Pinnacle Of Bedlam Review

Suffocation - Pinnacle Of Bedlam [Technical Death Metal]

People are coming up with heaps of praise for  this album, the fourth since Suffocation's so-called winning streak after their 6 year long hiatus. While I can see why this is a jizz-inducing effort for long time fans of the band, I can't see new-comers approaching the band with this latest album. Quite simply, everything that's on record has been heard before and after the initial exhilaration (the album is quite brutal), the songs just cease to interest you at all.





Now compare this to other technical death metal albums in recent years; Cryptopsy and Sophicide churned out pretty impressive albums last year, and my personal favourite, Spawn of Possession's Incurso was quite groundbreaking, in that not only were they technically proficient, they were using guitars to induce very impressive sounds, stuff like trying to imitate a snake charmer's flute and transcribing symphonic melodies. On the other hand, Pinnacle Of Bedlam eschews all this for a down-to-earth technical shredfest. The guitars are heavy, guaranteed, but song writing has been compromised for an exhibition of speed and in the long run, this works against the album.

In fact, the only curveball here is an acoustic intro to 'Sullen Days', but the song is badly written as the introduction has a pretty choppy transition to the main song, which turns out to be a mid-tempo death metal track that should act as respite from an otherwise uptempo album, but the result as an aimless song with annoyingly repetitive guitar riffs that do nothing to hold you interest (where is the goddamn groove?). The solos try to have a slow, melodic approach as a way to juxtapose against the chugging riffs, which every other band does anyway. Newcomer Dave Culross simply blast beats and blast beats and, well...

The vocals are pretty much the same stuff you come to expect, eh? One thing has to be handed to this album though; the production is pretty decent, considering that it has the modern, clean approach to metal but still manages to sound heavy, though the drums could do with less reverb and the guitars could be played with a bit more bass. I will admit to finding this album not bad on initial listen, but there is not much else after that and now I find myself hitting the skip button more often.

★★☆☆☆

Stratovarius - Nemesis Review

Stratovarius - Nemesis [Power Metal]



It's February, and finally I've gotten around to writing a proper full-length review on an album.

Anyhow, it is pretty much accepted among fans of Scandinavian/power metal that Stratovarius are, if anything, predictable - you know what you'll get from them each and every release, which isn't necessarily a bad thing nowadays, what with bands and artistes overextending their capabilities and consequently producing rubbish tracks/albums.

Well, listeners are in for a bit of a curveball.

'Nemesis', which is set to be officially released later in February, has many of the typical Stratovarius elements but, surprisingly, doesn't play too much too stereotype. If anything, tracks like 'Unbreakable' and 'Halcyon Days' have a decidedly Japanese-anime-rock feel to them. Some people will like it and some won't - my actual reaction to it was pleasant surprise with a dash of 'WTF?'.

I mean, just have a listen to 'Unbreakable' (the album's second track and first single).

The keyboards that lead into the intro riff, the intro riff itself (enmeshed with some key work), the pace and tone of the vocal delivery and the way the verse introduces the chorus - all of them scream 'DIGIMONNNN'. If you're reading this as a criticism or a pot shot, don't. I love Digimon. I haven't even gotten to the best part - this song is a friggin' love song. In all seriousness, Kotipelto's lyrical and vocal delivery don't match his best efforts - but then again, who says he's even trying to do so? The track is fun, catchy and a remarkably easy listen, even for people who aren't into metal. Jens Johansson proves his genius on here once again - if there is a metal keyboardist out there who combines technical skill, musical feel and cross-genre versatility better than this man, find me him. Johansson's accents and fillers add a delightful, breezy touch to this song.




Here we have 'Nemesis', the album's title track, which is more typically Stratovarius. The riffing and drumming are up-tempo and energetic, and the chorus is catchy and anthemic. If 'Unbreakable' is for the new listener, 'Nemesis' is for the longtime fan. The keyboard and guitar sequence starting at 2:47 is a particular delight.

The album, overall, isn't groundbreaking or avant-garde by any means. However, as far as entertainment value goes, this album is more than worth a listen. Stratovarius must be commended for putting together such a fun collection of tracks while not compromising on their musicianship and production (a separate note on the production: the guitars are a treat. They absolutely slice through the mix, yet aren't overpowering or jarring. Bravo).★★★★☆ Good - Strong flow, immediately grabs you

Express Metal Reviews (03/02/13)

Hate - Solarflesh [Blackened Death Metal]

For those of you who are fans of Behemoth, this should be a valuable listen. Also from Poland, Solarflesh sees Hate doing what they've been doing for quite some time already; blastbeats, Middle-Eastern flavours, throaty growls and European riffing. It strikes me more like a much watered down Behemoth, because Hate incorporates doom metal influences into the mix, but the resulting sound, and songs, overall, are BLAND. The direction is singular and not even the individual members' musical chops can save the album. I actually had large expectations for this after hearing the intro, because the progression, though uncannily similar to Behemoth's 'Rome C.E', was brilliant. After that nothing really sticks out. Maybe just me? 2/5




Eclipse Prophecy - Days Of Judgement [Power Metal]

A surprisingly delightful debut with a rubbish mix. Too much emphasis on guitar make the drums sound flat and the keyboards straight out of a 90s computer game, though this does not explain why I quite enjoy the overall album, a testament to the band's songwriting prowess. The vocals are surprisingly bad for a genre that prides itself in semi-operatic vocalists. As with all power metal, there is cheesiness in both lyrical themes and overall presentation, but the guitar work is simply superb. This is in the vein of Dragonforce, though the technical skill is not close yet. Not an outstanding album, but the band definitely has potential. 2.5/5



Hatebreed - The Divinity Of Purpose [Metalcore]


This actually put a smile on my face. The band has been blessed with an exceptional vocalist; Jamey Jasta is audible, clear, harsh and full of conviction. His vocal delivery adds an anthemic touch to all the songs, because quite frankly the songwriting here is pretty much... standard. The mix is a little subdued as compared to recent hardcore / metalcore albums, but this again is overcome by Jasta's powerful delivery. But then again, with lyrical themes like this, there is no other alternative for the band. That's just fine, this isn't an album for long journeys or introspective nights, this is something to listen to for that extra pump when working out. Nice. 3/5



Abyssal - Novit Enim Dominus Qui Sunt Eius [Dissonance]

Getting a lot of Blut Aus Nord vibes from this album, especially from The Odinist era, but the songs fail to sustain interest. This in part isn't a genre plague, as Portal has released a similar album with fantastic execution. The problem here maybe in songwriting, songs tend to drone on and on without any sense of impending urgency like that in Vexovoid. The dissonant riffs are interesting but overused, and nothing distinguishable emerges from the cesspool of muddy downtuned riffs. The drums are way too far back in the mix to cement any concrete rhythms in the album and the vocals tend to bore. 2/5



Portal - Vexovoid [Intense / Dissonance / Death / Doom / Scary]

Bloody impressive album, one that soars past all of Portal's past endeavors, a huge relief since I have been trying to get into this band on Krallice guitarist Colin Marston's recommendation of their album 'Outre'. The album style may be an acquired taste but the mix and execution has so much power; the vocals have an inhuman vibe to them, not pained or emotional, almost like another entity but not as alien as Invocation's Dagon. The drums have phenomenal speed dynamics, blasting and slowing to a gradual mid-paced groove beat and accelerating like a pulse, and a really organic pulse it beats to; the songs seem to have a breathing rhythm and it adds to the eerie feel of the album. The guitars warrant a polarizing reception, but I love the murkiness and swirling effect of the riffs, with the mix favouring ghost riffs and non-centred guitar licks thrown of tangent or launched from nowhere. The bass is overwhelming and surprisingly, it works. At merely seven songs, there is hardly any room for filler, but the final two tracks 'Orbmorphia' and 'Oblotten' are sonic exhibitions to the widely misused term 'crushing'. A definite highlight. 4.5/5



Centurian - Contra Rationem [Death Metal]

First time listening to this old time band and the verdict is: above average. This album is good but still meh, partly because everything you'd expect from death metal is here. The mix is a pleasant surprise because while emphasising the focussed urgency on the album (I'd have to admit that the rate at which the album progresses from riff to riff is relatively rapid) it does not compromise heaviness, though the drums could do with a lot more limelight. Nevertheless, no single song stands out despite a rather enjoyable listen as a whole. Good, but not enough. 3.5/5



Nightfall - Cassiopeia [Melodic Death Metal]


As with most of the records, this album has potential but doesn't quite make the cut. But quite uniquely, Nightfall never seem to run out of fantastic melodies, and for the most part, this is the consistent strength of the album. Guitars don't seem to stick out in general, and is it my headphones? Because the drums sound seems to suck here too. The solos, however, seem quite listener friendly, with an almost classic rock vibe to them ('Oberon & Titania'). The closest comparison I have to this band is Amon Amarth, with a little more keyboard flair, and whether that appeals to you is subjective. Again, a pretty 'safe' record with nothing new or exciting. 3/5



Bullet For My Valentine - Temper Temper [Metalcore]

What has been heard cannot be unheard. Disgusting numetal vocals (who the hell sings to hardcore?) trying very hard to imitate Chester Bennington. The songs struggle to channel anger, which is the scope of the lyrical themes and that is a joke. The drums have nothing special, the guitars are minimal and they aren't very creative, playing the same nonsense again and again. Bass seems to be nonexistent and the vocals, as mentioned, are hideous. The irritating template of verse - chorus -verse - chorus gets to me so you kinda already know what the end will be like. Fail. 0.5/5



Andy Winter - Incomprehensible [Progressive]

Admittedly never heard of this guy but the list of featured artistes sure ring a bell; John Haughm of Agalloch, Dan Swanö, Ihsahn's wife Heidi S. Tveitan and Paul Kuhr, so this gives a very Devin Townsend-ish vibe at first glance alone (and Townsend's bassist Mike Young also performs here). Add to that dream cast Hellhammer's barely distinguishable ambient jazz drums (okay this one was a huge surprise). Overall, this is hardly metal, this is more of an ambient project, and though I will honestly admit I am not in the mood for this, some songs truly stand out. Dan Swanö absolutely steals the show on 'Somewhere Else To Disappear'. The conflicting guitars, bass and keyboards on 'Through The Eyes Of A Surrealist' and Agnete M. Kirkevaag's vocals on the chorus of 'Reversed Psychological Patterns' is spinechilling. The heavier 'The Transversal Conjecture' has death metal vocals by Paul Kuhr and he does a great job with the vocals too. A pretty unpredictable release, and a welcome breath of fresh air. I like. 4/5



Semantic Saturation - Solipsistic [Progressive Instrumental]

Having a new-found respect for Derek Sherinian after watching him perform live with Portnoy at TAB, a progressive release with him on keys is more than welcome. Musically there is a lot going on since this is instrumental, and the absence of a vocalist leaves nothing more to be desired because the songs are well written for each member to fill in the void without a vocalist.Shant Hagopian is a surprisingly strong guitarist, this being the first time I am hearing him and his Armenian-drenched riffs and solos. Virgil Donati's drums mark a dominant presence in the mix, never overdoing it or never leaving the soundscape. Ric Fierabracci's bass isn't mind-blowing or anything but sufficient. This isn't the best instrumental album I have ever heard, and if Tosin Abasi released another Animals As Leaders album this year as planned, then this is definitely not the best instrumental album of this year, but it surely sets the standards high for the others. Imagine old-school Dream Theatre without vocals (I hate James LaBrie and his whiney vocals), and you have a nice picture of what to expect here. Andy Kuntz provides vocals for the last track, but it seems to fit. 4.5/5