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

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

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 - Silverthorn [Power Metal]



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

Thursday 25 October 2012

The xx - Coexist Review

The xx - Coexist [Indie Pop]



Minimalist rockers The xx have returned with more whispers and loose guitar notes on Coexist. Winning a Mercury Prize for their debut self-titled and a lot of praise for critics looking for the next big thing. Their debut has catapulted band leader Jamie Smith as an electronic producer (and his new found skills show well in the crisp, pounding beats). Personally though, I found xx a little to pretentious, liking at most, and really at MOST, only half of their first album.

That being said, there is, stylistically nothing new to find in their album, though the sound is a little upbeat this time with Jamie Smith in production, keeping the main melodies spacey and distant while the beats take a bigger part in the overall sound stage, juxtaposing pulsing dance beats with a guitar that was probably recorded at the back of the recording studio. Songs meander between the fine line between precision and boredom.



Vocals-wise, the duo of Romy Madley Croft and Oliver Sim are... unconvincing to me, as they always have been. The group's obsession with an intimate sound is really limited by the vocal range, with not even a high note or a sudden impassioned coo appearing anywhere to grip you. This is, what I personally feel, gives the band its poseur sound, because ultimately the individual band members cannot make the most out of their songs. Minimalism is harder than the word implies, but it is not impossible. Listen to Tool's Disposition, it could easily fit in well with the xx's imagery and themes of intimacy, tension or passion. The point is to create a huge impact with as little elements as possible. In sharp contrast, the xx merely try to create style but clearly don't give a shit about substance, with no elements of surprise even with an apparent lack of song structure.

The xx are also habitually uninterested in writing full albums, with half of the album falling behind the filler category. Just as their self-titled thrived behind the successes of significant singles like 'Islands', 'Crystallized' (which, interestingly, has been made more minimalist when covered by Gorillaz's frontman Damon Albarn) and 'Infinity'. Here, as well, one sees that it is quite obvious to see which songs were hurried and which were carefully produced; 'Angels', 'Chained', 'Fiction' and 'Swept Away'. Elsewhere, songs appear to become interesting before just ending abruptly, without any resolve or attempt to do so anyway (case in point; use of strings in 'Tides' that leave a lot to be desired. Maybe it's just me.

★★★☆☆ Average - Half of album is listenable

Animal Collective - Centipede Hz Review

Animal Collective - Centipede Hz [Experimental Pop]





I took a long time to upload this review because the sheer complexity of the record meant that any first listens you have on the album would be a complete injustice to this. Animal Collective has always been a polarizing band, but attention was undivided with the band's 2009 immense breakthrough album Merriweather Post Pavilion, with its innovative song writing and spectacular use of sound effects. To the untrained ear it is a complete mess, but the way sounds appear sparse and detached, before suddenly coming together to create glistening, soaring choruses before breaking apart again, it is visually musical too.



And it would only be sensible that Centipede Hz goes off from a different direction from their successful formula. The first difference is the dense production, with the sounds condensed into one heavy sound that at once hits you as claustrophobic and hurried. Yes, it is the same style employed in Merriweather Post Pavilion, but the rate at which the sound effects conglomerate is distracting this time round, while the original songs themselves lack any real structure or memorable hooks. Synth comes in with such unpredictability that even gorgeous tunes like 'Mercury Man' have this manic, uncertain feel to it, and, nuts to detractors, I found this a highly refreshing characteristic.

The emphasis on a sonic experience, rather than the song by song method employed by radio artistes to pick the best singles and squeeze the most cash out of it, dictates that the album be listened to as a whole and it is one of those albums where the whole is more than the sum of its individual parts. And with many unconscious  listens (ie. listening to it while playing games or studying or whatever it is people do for past time today), the melodies become more discernible.

However, I have  a problem with the lack of depth on this record. For so much an emphasis on 'experience', the album has few themes for you to take away. Also, does the sound effect exactly enhance the overall sound? The overuse of sound effects makes the album sound chaotic and wild at times, and though it works for energetic sounds like that on 'Today's Supernatural' and 'Applesauce', it does add the effect of juvenile pretense on songs like 'Monkey Riches', which I am hoping is some irony in reference to the title, it as if sometimes the sound effects are used to mask the weakness of the songwriting.

Another gripe I have is the exclusion of two songs that were released prior to the album but not included in the mix; 'Honeycomb' and 'Gotham', which had strong songwriting and dynamic rhythms. This is, again, negligible because it's the artiste's choice what they deem fit for their release, but the inclusion of the two songs could break the hidden monotony in the album. Good direction was key to Animal Collective's success, but while Merriweather Post Pavilion has coupled strong songwriting with this, Centipede Hz seems to what its title implies; many legs and small details but ultimately nothing to pull your face and create the full impact a song like 'My Girls' did three years ago.

★★★☆☆ Average - Half of album is listenable

Taylor Swift - Red Review

Taylor Swift - Red [Pop]







In response to all the hate she has been getting for her love songs, the young songstress has boldly responded with... more love songs, with the beginning song already a bad rip off of the Temper Trap's Sweet Disposition, blatantly copying its rhythm and barely differing from its main melody. There's the Black Eyed Peas' use of electronic stammer, now also used Lady Gaga, on the title song 'Red', on, oh hell no, the word "red":

Losing him was blue like I'd never known 
Missing him was dark grey all alone 
Forgetting him was like 
trying to know somebody you never met 
But loving him was red 
Loving him was red 

The biggest fans of Taylor Swift claim that her lyrics are what make her, and it probably shows in this nursery rhyme composition, with no real depth to anything and some hipster connotations that will eventually take its cue for Instagrammed photos on Tumblr. Yeah. Try sitting through an hour of this. 

 I'm really gonna miss you picking fights 
And me, falling for it screaming that I'm right 
And you, would hide away and find your peace of mind 
With some indie record that's much cooler than mine

Musically, is there anything to say? Her twelve string guitar is compressed in the production, that spacey beauty that makes the Beatles sound so good, this is the opposite, and the richness of the instrument is simply lost in the mix, but then she is a pop star and the guitars have never been uncompressed in her albums to begin with, nor is she a proper guitar maverick like her ex John Mayer was, simply putting out redundant chord after chord that do no make any impact at all. Is it a monkey drumming or is this drums from an iPad? Either way, her compositions are easy on the years, meaning they are not even existent.

So all these qualities mean that the fans are right, because in the end, nothing but the lyrics seem to have any importance, since musically the song is typically the same which raises some doubt to the term "songwriter". The use of dubstep in 'I Knew You Were Trouble' is sparse and pathetic, the additions of Gary Lightbody (and what kind of dumb name is that) from Snow Patrol and Ed Sheeran is forgettable. I already talked about lyrics and their relevance to world crisis like girls not getting the hot guy they've been ogling. All in all.... I have nothing good to say about this! If you're a girl who youtubes her songs instead of purchasing them or even pirating them in extremely high audio conditions, and will dress up to look pretty and with your budget earphones and your overpriced iPhone and think of that hot boy with a six pack who is obviously your prince, yeah this is for you.

The rest of you scroll down and check our other reviews. Introducing our new rank-

☆☆☆☆☆ For barbarians and bimbos.

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JE's Take:

Firstly, have a look at the thumbnail of the song's lyric video.

Oh oh trouble trouble trouble
oh oh trouble trouble trouble

This stuff is something you would more likely see in a penmanship exercise than a widely-heard pop song. Repeating words/themes is nothing new in music regardless of genre/style, but having to do so for multiple lines and across multiple songs smacks of desperation and sterility.

Not only that - one listen to the song (and it wasn't even a very close listen) and I could hear Taylor Swift's auto-tuning software in all its full technological glory. Now I'm not against good singers using auto-tune as a convenient means of saving time doing multiple takes; I'm against poor-to-mediocre singers like Taylor Swift using it to do simple things that they would naturally be unable to do like stay in pitch for one phrase. The fact that the auto-tune can be so obviously heard on the record goes to show that she needs that much pitch correction.

Lyrically, musically and artistically, this album represents the pop industry's collective slap in the face of the semi-literate world: it seems that the formula for fame and fortune nowadays includes copious use of cliche, repetitive and uninspired lyrics, unremarkable vocal work and a ton of digital assistance and enhancement.

Assigning a zero-star rating to this album is already being very generous.

Hail Spirit Noir - Pneuma Review

Hail Spirit Noir - Pneuma [Psychedelic / Black Metal / Black N' Roll]


Just when you thought you've heard the weirdest music in the world, these Pink Floyd worshippers from Greece who also happen to love black metal dropped the most original metal album I've heard in a while. Okay, it's not original, it's been done to death since the 60s, since, yeah, Pink Floyd, and the whole love for classic rock thing's been Opeth's new flagship for the past few records and so on. But to this day nobody bothered to make it fun and just plain easy to digest, without skipping the complexities of such conflicting music styles.


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.


The black metal aspect does its job of keeping the 60s music sections energetic and tapping on its affiliations with youth. Yes, this is simply rock n' roll carried forth to the future, with enough twist to seperate it from Pink Floyd copycats in the wrong time frame. The music isn't sterile in production, in fact, there is a soft hitting warmth to it that really enhances its trippy and happy-go-lucky atmospherics. The variety of instruments here is mind-boggling, but more importantly, tastefully implemented, not overdone, not randomly inserted for poseur's sake. The piano that completes the main riff in 'When All Is Black' is a good example of this, it is part of the song and adds a dash of classy mystery to what could be potentially idiotic song in the hands of a Satanic barbarian. 'Mountains Of Horror' ends with a sad guitar section but is coupled with nice untriggered double pedals that keep it refreshing but also emotionally complex, and the keyboards never ever let up, drenching every space it finds with melancholic dread or funk. Clean vocals start off 'Let Your Devil Come Inside' and it's icy, but nicely done without theatrics.

My one complaint is the lack of hard metal elements, but hey, I listen to music, not just metal. I love this record.

★★★★☆ Good - Strong flow, immediately grabs you

Tuesday 23 October 2012

Death Grips - No Love Deep Web Review


Death Grips - No Love Deep Web [Experimental Hip-Hop]





Very late review, but hey. Death Grips leaked the album on their own when their record label expressed doubt on whether they could release the album this year on their schedule, putting Death Grips on a league of their own. Willingly putting up their first and stunning album on Youtube earlier this year, 'The Money Store' was one of my personal favourite albums in the first half year. Blending alien soundscapes, angry as hell vocals from Stefan "MC Ride" Burnett and free-form hard drumming from experimental metal drummer Zach Hill, who has worked with the likes of Mick Barr of black metal band Krallice, certainly made for one of the most refreshing sounds on a genre plagued with cash cows and general idiocy by the mainstream radio. Not just pushing the boundaries of rap and hip-hop, but simply pointing the middle figure to the music industry and indirectly at society as well, The Money Store was an epic statement.





So how does the follow-up act up? While The Money Store was simply brazen in its attack, No Love proves to be one hell of a complex beast to configure. With dizzying schizophrenic vocals/lyrics, multiple musical influences that stretch as far as to industrial or death metal, No Love is riddled with suicidal and self-injuring tendencies. Production as heavy but spacey, something black metal bands should take note of. The atmosphere sounds as powerful as it is uncertain. Electronic flourishes by Flatlander and Hill come up as sharp and lively, there is something grim in the overall sound. This doesn't undermine the anger that Death Grips is famous for, opener 'Come Up And Get Me' is exactly what its title implies, and with minimal drums and electronics, there is a serious psychotic threat to Burnett's vocals, before he suddenly breaks down after the verse:



"I'm in an eight high abandoned building

no daylight one midnight lamp lit twenty-four seven
murdered out windows two exits
street or nosedive to the next life in seconds
and suicide aint my stallion
so I'm surrounded
geiger count it not goin out shits bout to get kamikaze"

Whilst Money Store thrived on explosive choruses and colourful soundscapes, the songs on No Love have little changes in tempo in terms of melody, no crescendos or rush of excitement, which may anger fans of the highly volatile debut, but there is some real depth to the songs here, emotionally. The icyness of the music keeps the listener constantly outside the themes, more like an onlooker instead of being part of the music, again another absolute innovation, and this creates some truly pitiful perspectives on Burnett. The scream on 'Lock Your Doors' come across as frightening instead of keeping up with the pacing of the rap, which is itself dubiously ambiguos: Light the candle, burn the wax/ Before me dies, in scorch uprise/ Can't deny it, no way back. What is the source of all this paranoia?


Nevertheless, while it may not strike a chord with fans who liked Money Store, with the absence of hooks or the heavy, inhuman, prison-like atmospheres, No Love is definitely the cold, lonely deserted twin of its predecessor. Full of minute details, with elements from as vast as jazz, club and death metal, this is truly one of the most unique releases of 2012. You may not like it. But this is definitely a classic that requires some serious listening.


★★★★☆ Good - Strong flow, immediately grabs you
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JE's take:

Before we delve into this section of the review, let me first say that hip-hop in all its myriad forms is one of my least favourite genres ever. However, 'No Love Deep Web' brings something different to the table especially in terms of sound production and vocal style.

The lyrical content on 'No Love Deep Web' is angsty and defiant and makes for a good solid listen; the album is rare for its genre in that you can actually finish the whole thing in one sitting (of course, the fact that there exists a compilation of the entire album on the tubes does help).

However, the music can get repetitive after a little while and that detracts from the enormous potential of this album. The tracks are good in and of themselves but their arrangement/alignment definitely needs working on. Still, it takes some serious quality in a hip-hop album for me to sit through it in one shot.
Rating: ★★★★☆ Good - Strong flow, immediately grabs you

Cradle Of Filth - The Manticore And Other Horrors Review

Cradle Of Filth - The Manticore And Other Horrors [Goth / Fake Metal]



It takes a lot of bravery to take a listen even with as atrocious an album cover as this, but I went on anyway. I used to be a huge fan of Cradle Of Filth, specifically of their albums from Dusk And Her Embrace onward to about Midian, that's about three albums including Cruelty And The Beast. Dani Filth was the definite lyricist to me, beyond the snide humour of J. R. Hayes of Pig Destroyer and the poetic beauty of Mikael Adkerfeldt of Opeth, Dani Filth hadn't let his degree in English Literature go to waste. I mean, reading the first verse of 'Cthulhu Dawn' off Midian:

"Spatter the stars
Douse their luminosity
With our amniotic retch
Promulgating the birth
Of another Hell on Earth
Shadows gather poisoned henna for the flesh
A necrotic cattle brand
The hissing downfall pentagram
Carven deep upon the church doors of the damned
But no Passover is planned
A great renewal growls at hand
And only when they're running
Will they come to understand

So ends the pitiful reign of Man"


Dani Filth is, and for all I know probably still is, a fantastic writer. However, the small man from the big band faces numerous limitations with age as experienced on the albums since Midian. Those frightening high-pitched falsettos screams he overused in Midian have been taking a heavy toll on the man and it shows in his preference for the lower register and the almost pathetic use of spoken vocals without any effects, rendering any shock effects the group has been attempting futile. Also, as they get richer and start overproducing their music, the novelty of the dreadful lo-fi atmospheres have been replaced with well-defined punk riffs which are just weird as they clash with the keyboard that has also been overproduced and sound more like a Disney villain's theme music than the gothic vibes the band succeeded in creating with their first four albums. Change is good, but hey, if it ain't broke, why fix it?  Bands such as Behemoth and Septic Flesh have successfully fused the grandeur of orchestra, hell, even Dimmu Borgir sound grander with their gay white costumes and tired songwriting. The orchestral touch is fantastic, but lacks the twisted genius earlier works had, sounding, again, morel like Disney themes than Cradle material.




Where songs once brimmed with life and unpredictability, with melancholic keyboards and barely audible guitar riffs and underproduced drums, are extremely aimless songs taking dumps everywhere over six minute spans, far too long a time duration for 'punk' riffs. Instrumentally, the album is a mess. The choir comes up at ridiculously obvious cues, Allender's guitar should be subdued very far in the back instead of trying to make the band sound heavier, Caroline Campbell's keyboards have no effect whatsoever and only make Allender's guitar sound stupider. Dani Filth may want to just switch to death growls because his shrieks no longer sound powerful, more like a victimized scream failing. There is some electronic synth on 'Frost On Her Pillow' which just sounds cringe-worthy, the sitars and Indian-inspired violins on 'Manticore' have no link with the song save for the origin of the aforementioned beast in India. Drummer Martin Å karoupka is the only redeeming factor of the band, his blastbeats energetic and vital, but alas, his drumming is not memorable and cannot ultimately save the band's uninspired tenth album.

Amidst the general disappointment I have for this, there is one song that still managed to surprise me and even gave me hope for the second half of the album - 'Huge Onyx Wings Behind Despair' does not repeat the cheesiness of the synth in 'Frost On Her Pillow' and actually showed  the band in a new light, almost neo-classical, but five minutes of gold in 51 minutes cannot do anything. The punk vibes also hold up surprisingly well on album closer 'Succumb To This', with that one catchy chorus I was looking high and low for, but oh well, too late. 


★☆☆☆☆ Rubbish - One or two good songs

Saturday 20 October 2012

A Night With Tommy Emmanuel

Last night, Satthia and I went for Tommy Emmanuel's yearly October gig (he's been giving shows every year since 2009 now) at the Esplanade.

As we entered the Esplanade foyer, we were greeted by quite a scene: not only was there a dance exhibition happening smack in the middle of the concourse, there were so many people carrying all manner of stringed instruments (guitars, basses, ukuleles and the like) in their cases.

We knew at once that a good number of people had turned up for the Tommy Emmanuel show.

We got in early - at around 7.20pm, ten minutes before the listed show timing - and settled down into our seats. By 7.30pm, around two-thirds the hall had filled up, but the number of empty seats left was still obvious. So much for a good turnout, we thought.

We didn't spend much longer thinking, though, the star of the show burst onstage shortly after and - as he did two years ago (yes, I've been to more than one Tommy Emmanuel gig. Be jealous.) - immediately dived into an uptempo number complete with his customary percussive fillers and technical wizardry. The crowd got absolutely fired up, and the tone for the night was set.

Then, just as he started his second tune, the latecomers filtered in. Lo and behold, nearly all the seats in the concert hall were occupied. It never ceases to amaze me how many people manage to be late for absolutely anything going on in their lives. I mean, it's Tommy Emmanuel!

Not that I was distracted by the stragglers or anything - I was by then engrossed in what was happening onstage. The music was, obviously, upbeat at the beginning and technically far more impressive than anything I had ever seen live (his bluesy-jazzy rendition of Amazing Grace was particularly incredible - look at those freaking chord voices and changes!), but I harbored the little fear that Tommy would spend this gig exclusively playing new material. Me being me, I had gone for his 2010 gig as a first-timer hoping to hear his 'biggest hits' like Guitar Boogie ..



.. Angelina ..



.. and Classical Gas.

I did get to hear Angelina and Gas (and they were breathtaking) but not Boogie, which was kinda disappointing especially when Tommy came back onstage to cries of 'Encore! Encore! We want more!' and played a refrain of his very first piece.

I wasn't to be let down this time round, however.

During the 'second half' of the gig (there technically were no 'halves', since there was no intermission - I'm labelling this segment as such because it represents the point where the musical content and mood really swung during the show), Tommy changed guitars (from his standard-tuned guitar to his drop-D-tuned instrument), played a few tunes and then fitted a capo onto his guitar's second row of frets.

'Oh my god,' I turned around and said to Satthia.

True enough, Tommy busted out a rendition of 'Angelina', much to the delight of the majority of the crowd, myself squarely included. In 2010, Tommy had played 'Angelina' in a really cutting and heartfelt way; he even put words to the signature chorus melody. This time round, he took the song much slower and let each note really drag and ring. After the song, he stepped up to the mike and said "That's Angelina" and cracked a little grin before continuing, "She's my youngest daughter; she's fourteen and studying in public school in England.."

His voice trailed off somewhat. We got the message.

If the 2010 rendition could evoke tears from the audience, the 2012 one would surely have evoked sad, sad sighs.

No one could be sad for much longer, however, as Tommy took the mike again and declared: "Who's a big Beatles fan here!?"

The audience, knowing what was coming, started to cheer raucously.

"Okay, wonderful, I've got some Rolling Stones tunes for you."

Cue laughter and one or two 'Oyyyyyy's from the top level of seats.

"Just kidding. Anyway, I'm gonna start off this Beatles montage with a song by George Harrison."

And then came 'Here Comes The Sun', followed by tunes like 'When I'm Sixty-Four', 'Day Tripper' and 'Lady Madonna'. Classic stuff. By then, I was grooving and clapping to the beat in my seat  - a tiny group of not more than six or seven started to follow suit - but unfortunately, the audience lived up to its Singaporean billing and largely sat there stock still in a mixture of awe and stiffness. Tommy Emmanuel was freaking doing everything on stage - prancing around, headbanging, taking up various 'guitar poses' - short of asking his crew to flash giant 'HEY GUYS, CLAP ALONG WITH ME' words on the wall, and yet here those people were, treating this gig as if it was a 1980's Pavarotti show. Sigh.

There was still more to come from the legend.

He picked up his newest instrument - a Maton Forrest Gump edition, based on what he said - and fiddled around with it. It was tuned to D. I wondered immediately what was coming next.

It was Guitar Boogie.

And the crowd went batshit crazy, really for the second time the entire gig.

More classic numbers like 'Purple Haze' and 'The Trails' (a brilliant, haunting piece by anybody's standards) followed, and Tommy eventually signed off with one of his trademark several-minute-long percussion solos that got the crowd roaring and barking for more when he left the stage.

He did return for the encore (he always does) and played 'Halfway Home', a nice tune with a chill country-rock vibe and a perfect show-ender.

Everyone left satisfied; Tommy had truly 'showed up and done his best'.

There is really nothing negative to be said about seeing the world's greatest acoustic guitarist in the flesh anyway.

Tuesday 16 October 2012

Pig Destroyer - Book Burner

Pig Destroyer - Book Burner [Grindcore]



You do not need to be a fan of grindcore to appreciate this. 




Five years after Pig Destroyer shocked the world with its seamless mix of both violent sonicscapes and intellectual song writing in Phantom Limb, and after a whole series of bad luck (their got burnt down, departure of then drummer Brian Harvey), Book Burner was definitely one of the most anticipated albums of 2012, but unlike bands that fail to deliver consecutively, Pig Destroyer not only satisfies fans and critics alike, it pushes the boundaries of grindcore in a way even Napalm Death could not have imagined. 

Boasting sterile clean production, with piercing drum beats by none other than Misery Index leader Adam Jarvis, a satisfactory performance by vocalist J. R. Hayes, and a completely unexpected performance of pure aggression by guitarist and founding member Scott Hull. Guitar riffage may not be the most appealing factor in grindcore but Scot Hull has completely burned the book of rules on genre definitions. 

Yes, the template of the album is grindcore, but there are numerous moments when the band blurs the lines between all forms of metal; thrash riffs flirt with your ears for as little as five seconds, and lightning fast riffs seem to all crash into one another to form a compressed groove riff, stopping with such unpredictability that it seems Jarvis and Hull are symbiotic in their playing, and their cohesiveness in the music has been one of the best I've heard this year, possibly even topping Cannibal Corpse's Torture earlier this year (which by the way, is still one of my personal favourite albums this year). Jarvis himself is no slouch, opting for a refined and mathematical precision rather than his typical blastbeats in Misery Index, and without indulging in its own complexity but rather creating a sharp and focused performance. The absence of a bassist is almost negligible because Hull's eight string guitar takes up the space of its lower pitched compartment, and the amount of memorable riffs and hooks in this album, its more than some bands' entire catalogs. The intro of 'Permanent Funeral' sounds like a modern version of Slayer's classic Raining Blood. 

This is not just the best grindcore album to come out in probably the history of the genre, this might damn well even propel the band to the peaks of the elite with its apocalyptic vision, power and rage, core ingredients of metal which has since been long forgotten with the rise of homosexuality and femininity in the music industry. Tie with Krallice for album of the year now. 

★★★★★ Excellent - Undisputed classic for critical listening

---------------------------------------------------------------------------------------------

JE's Take:

This is the first time I'm listening to anything by Pig Destroyer and I'm digging this stuff already. Though 'Burning Palm' may be the album's de facto single, I feel that 'Baltimore Strangler' is the album's best piece and defining track.

As has already been said, the band, in this album, manages to stretch preexisting definitions of grindcore and turns in a surprisingly enjoyable and musical effort replete with tangible elements of thrash and - dare I say it - metalcore/screamo.

Unlike Satthia, however, I'm not yet ready to elevate this album to historical status - the vocal performance hinders me from doing so. A historically good album has to have little to no discernible holes; the vocals in this album are passable at best, and a stark drop-off from the rhythm section.

Still, Book Burner is a great album that fully merits the following:
Rating: ★★★★☆ Good - Strong flow, immediately grabs you

Tuesday 9 October 2012

BluesJamTracks is awesome

The guitarists among you might have come across the Youtube channel 'bluesjamtracks' and seen its videos featuring famous artistes playing to backing tracks taken off its sister website (jamtrackcentral.com).

Those who, like me, claim regular viewership of this channel are in luck. Bluesjamtracks has just released a new series of featured videos including the below:

CHRISTOPHE GODIN


ANDY JAMES


GUTHRIE GOVAN


Holy shit! Three (and more) of the guitar universe's beastliest players featured on this site!? Add this series of videos to my list of time-killers during army duty.

Sunday 7 October 2012

Pink - The Truth About Love Review

Pink - The Truth About Love [Pop]




Pink. I am going to get major backlash for this, but this ain't your album of the year, folks. There are many gems in this album, but running at a whopping 80 minutes is testing even for a fan of long epic tracks like me. That is the problem; there are just too many songs around in the album that do not necessarily translate to variety.




The usual things about Pink that fans have come to love are still intact; raw emotions and anger that proves to be more hostile than a lot of supposed rock bands out there. The production gives a lot of punch to the syncopated dance beats and the guitar riffs are brought out surprisingly well, with subtle but firm undertones that translate to one of the more aggressive radio friendly albums of the year. Coupled with some nice lyrical lines here and there, or at least better than what you'll find on radios anyway, this is an excellent combination for an in-your-face music. 

The downside is obviously the double edge that results from an overbearingly arrogant performance, one that fleshes out excessive style over substance. In terms of musical instrumentation, this is possibly the same chords and tunes you'd heard of anyway. There is nothing refreshingly new about the album, nothing shocking about an album that tires you out with this intensity and then lies forgotten after a few months. There are few puns here and there that will make you smile, but this isn't exceedingly smart or complex, as say Fiona Apple's release this year. Eminem's surprise cameo in 'Here Comes the Weekend' comes out as forced and unwanted. The lead single, 'Blow Me (One Last Kiss)' has certain cringe-worthy hooks (where she goes 'Just when I think it can't get worse, I had a shit day', sounding like a banshee, which, while goes well with the lyrics, does not go well on the ears'). Nate Ruess from fun joins Pink on 'Just Give Me A Reason' but his smooth, crooning voice is completely overshadowed by the songstress' enormous vocals, rendering his inclusion redundant. 


As mentioned, there are always a lot of gems you can find in an album this long. My obvious favourite would be her duet with Lily Rose on 'True Love', where the song is slowed down and considerably more feminine than the other raucous songs on the album, the chorus is fully fleshed out and Lily Rose's verse adds a nice smooth touch to the song. Also, the uncanny 'Slut Like You' boasts one of the more mischievous pleasures on the album with it's playful lyrics, and Pink also tones down instead of making this a P.M.S rocker.


My opinion? Quite average, actually.

★★★☆☆ Average - Half of album is listenable