Peter
Make no mistake about it, My Dying Bride has become, in the past year, one of my very favorite bands. Their entire library is full of epic, amazing British doom. Yet plunked just about right in the middle of the oeuvre is the singularly unique 34.788%...Complete.
Taken on its own, it is an interesting piece of artistic expression. A very mellow, chill, electronic inspired take on doom metal, there is, in fact, very little doom on it. A cursory listen reveals an album that sounds nothing like My Dying Bride. But don't let that fool you. Closer inspection demonstrates hidden layers of heavy, ponderous MDB riffs.
But where this album really shines is taken in the context of all their albums. Sandwiched directly between Like Gods of the Sun, the pinnacle of their early evolution to more melodic metal, and The Light at the End of the World, their darkest, most bleak and crushing album, 34.788%...Complete truly stands out as fascinating. What has come since this album is amazing doom metal, so I can't complain. But this is one album to not be overlooked.
From the trippy, "Blade Runner" style interrogation (questions are asked by a female voice, in Japanese played backwards, then answered by lead vocalist Aaron Stainthorpe in English) in "The Whore, the Cook and the Mother", to the almost groove-metal of "Under Your Wings and Into Your Arms", the album is full of fascinating moments. "Der Uberlebende" is the closest the album comes to doom, with a slow, dirge-like pace. "Apocalypse Woman" is carried by a rapid, groove laden bass line. Finally, the first song that really caught my attention was "Heroine Chic". I find it to be the most interesting MDB song ever, with electronic percussion, spoken vocals, (almost) self-censored lyrics (listen closely with headphones to see why I say almost), a lilting female vocal over the top of it all, and moments of thunderously heavy riffs, it is just fantastic from start to finish.
Final verdict: Explore it (though I adore it, it is different and unique enough that I gotta say explore first, though you may come to adore it as well)
Braeden
I think it's taken me as long as it has to counterpoint this album because I still don't know what to make of it.
I'm not as familiar with My Dying Bride as Peter is, obviously. Before working on this article, the only exposure I'd had to them was their latest release, 2009's For Lies I Sire, which is certainly a shining example of melodic doom metal.
However, for a lot of reasons, I think 34.778% is a superior album. As has been documented previously, I have a lot of love for well-done electronica. (I can't stand most of the stuff they'd play in clubs and such; but when a group or artist is good at creating electronica - groups such as F*ck Buttons or Röyksopp or the inimitable Daft Punk - I can listen to it all day.) The subtle, electronic music found intermingled here with some pretty crushing metal is very good, and helps create an ambiance that most albums of this ilk only hope to duplicate.
It really is a great album, and the more times I've listened to it, the more I've felt that way about it.
Final verdict: this surprises the heck out of me, but Adore it (at night. In the darkness. Hidden under your covers.)
Showing posts with label point. Show all posts
Showing posts with label point. Show all posts
Sunday, July 25, 2010
Tuesday, July 06, 2010
Point-Counterpoint: Cloud Cult - The Meaning of 8
Braeden
I'm not exactly sure how I found out about Cloud Cult - what website or who introduced me to the wonder of my favorite band. (After Rush. Of course.) All I know is that I've loved everything they've done for half a decade now.
While my love of most indie music is something that's come about in the last year or so, even when I was in the midst of my most brütal hëavy mëtal moments of life, I've still been able to listen to Cloud Cult and find joy, honesty, and the truths of human emotions laid bare. They're not your typical indie band, not one that you'd imagine all those hipster kids from New York listening to - there's something fundamentally different about their music, from their harmonies to their deceptively simple seeming guitar work.
The Meaning of 8 is no exception. Until Monday of this past week when they released their newest album, Light Chasers, on their website, I would've told you it was their very best album. It's full of catchy songs, lilting melodies, a message about overcoming and the everlasting nature of love, and it's just a wonder to behold. Since 2000 and the passing of lead singer / guitarist / keyboarder / songwriter Craig Minowa's son, their music had tended towards melancholy, but with this release, they strike a happy balance between the sadness that's obviously still there (especially in songs such as "Your 8th Birthday", written for the boy on what would've been that day), but there's a sense of hope and faith in the future here, too.
I love this record. It's got some of my favorite Cloud Cult tunes on it - from the unique love musings of "Chemicals Collide" to the melancholy of "Dance for the Dead" to the beautiful tragedy of "A Girl Underground" to the poignant "The Deaf Girl's Song". It's hard to even point out one thing that's out of place on this disc - it's nineteen tracks of perfection.
Every Cloud Cult album is a listening event - and this one, specifically, is a marvel.
Final Verdict: Adore it (and pick up everything else they've ever done, too - especially their brand new one)
Peter
My brother is on a quest. A quest to cure me from my Philistine ways. Such it is with this latest selection.
Cloud Cult scratches the indie-but-not-dirty-hipster itch very well. The music is slick and polished, without the need to appear rough and raw (like too much indie music). This album is replete with happy moments without being saccharine. The music is a vehicle, not a weapon. A vehicle to gently propel the listener on to the end.
In these ways, the album succeeds.
However, for it to succeed for the individual, you need to have that itch that needs to be scratched. And, frankly, I don't. It would appear I have no indie itch. That doesn't surprise me. So in the end, this was a brief diversion, but that is all.
Final verdict: Explore it (if you find you have an indie itch, scratch with this, not some of the other absolute dreck that is out there)
I'm not exactly sure how I found out about Cloud Cult - what website or who introduced me to the wonder of my favorite band. (After Rush. Of course.) All I know is that I've loved everything they've done for half a decade now.
While my love of most indie music is something that's come about in the last year or so, even when I was in the midst of my most brütal hëavy mëtal moments of life, I've still been able to listen to Cloud Cult and find joy, honesty, and the truths of human emotions laid bare. They're not your typical indie band, not one that you'd imagine all those hipster kids from New York listening to - there's something fundamentally different about their music, from their harmonies to their deceptively simple seeming guitar work.
The Meaning of 8 is no exception. Until Monday of this past week when they released their newest album, Light Chasers, on their website, I would've told you it was their very best album. It's full of catchy songs, lilting melodies, a message about overcoming and the everlasting nature of love, and it's just a wonder to behold. Since 2000 and the passing of lead singer / guitarist / keyboarder / songwriter Craig Minowa's son, their music had tended towards melancholy, but with this release, they strike a happy balance between the sadness that's obviously still there (especially in songs such as "Your 8th Birthday", written for the boy on what would've been that day), but there's a sense of hope and faith in the future here, too.
I love this record. It's got some of my favorite Cloud Cult tunes on it - from the unique love musings of "Chemicals Collide" to the melancholy of "Dance for the Dead" to the beautiful tragedy of "A Girl Underground" to the poignant "The Deaf Girl's Song". It's hard to even point out one thing that's out of place on this disc - it's nineteen tracks of perfection.
Every Cloud Cult album is a listening event - and this one, specifically, is a marvel.
Final Verdict: Adore it (and pick up everything else they've ever done, too - especially their brand new one)
Peter
My brother is on a quest. A quest to cure me from my Philistine ways. Such it is with this latest selection.
Cloud Cult scratches the indie-but-not-dirty-hipster itch very well. The music is slick and polished, without the need to appear rough and raw (like too much indie music). This album is replete with happy moments without being saccharine. The music is a vehicle, not a weapon. A vehicle to gently propel the listener on to the end.
In these ways, the album succeeds.
However, for it to succeed for the individual, you need to have that itch that needs to be scratched. And, frankly, I don't. It would appear I have no indie itch. That doesn't surprise me. So in the end, this was a brief diversion, but that is all.
Final verdict: Explore it (if you find you have an indie itch, scratch with this, not some of the other absolute dreck that is out there)
Tuesday, June 15, 2010
Point-Counterpoint: Yes - Close to the Edge
Braeden
Even though Yes is one of the original progenitors of the progressive rock genre, it's taken me years to be willing and able to truly process their music. I can't really describe why that was; but be that as it may, two years ago I finally decided I needed to see what all the fuss was about.
Because Yes has been around so long, like any older group they have some albums that are stellar and some that are just "meh". Thankfully, Close to the Edge is the former. With only three tracks and clocking in at barely under forty minutes, it's a behemoth to try and digest, but doing so is more than worth the while.
The first song (in fact, in the original vinyl, the whole first side - not unlike Rush's "2112" or "Hemispheres") is the title track, one that starts with ambient sounds before erupting in a funkadelic beat. The bass, guitars, and keyboards are all going in different directions, soaring and weaving into one another, until vocal harmonies break through, silence everything, and it all coalesces into a wonderful whole, until the motif for the song is presented. The vocals are nearly always in harmony, and it flies quickly from quiet to loud with abandon, and the lyrics are mystical and spiritual. The real shining instrument here is Rick Wakeman's keyboard - he stands out among other very talented musicians, especially during that vibrant, effulgent organ section. It's one of the best examples of early progressive rock you'll ever hear.
This continues throughout the next two tracks as well, "And You and I" as well as "Siberian Khatru". The former continues an eastern, mystical motif musically and lyrically; it is about renewal and rebirth, whereas the latter seethes with energy and has a great beat and catchy syncopated guitar work. Both also exemplify what early progressive rock was, and it's obvious why this is regarded as many to be Yes' best album.
Final verdict: Adore it (with a mind for expansion)
Peter
Ah Yes. One of the quintessential progressive rock bands, even though they probably need it, they should require no introduction. Certainly groundbreaking, often innovative, Yes has long been a rotating cast of very skilled musicians.
Oh, and they are boring.
Yeah, I said it. Boooooooooring. Like insomniac curing boring. In fact, there is really only one song of theirs I can even stand. "Roundabout" is a decent track that wears out its welcome if you aren't hearing the radio edit.
So what can I say about Close to the Edge? It is an epic, sprawling work that is full of pseudo-mystical lyrics, impressive yet incredibly subdued music (even when "energetic"), piercingly high vocals and ZZZZZZZZZZZZZZZZZZZZZZZZZZZ. . .
Final verdict: Ignore it (unless you need some help with your insomnia)
Even though Yes is one of the original progenitors of the progressive rock genre, it's taken me years to be willing and able to truly process their music. I can't really describe why that was; but be that as it may, two years ago I finally decided I needed to see what all the fuss was about.
Because Yes has been around so long, like any older group they have some albums that are stellar and some that are just "meh". Thankfully, Close to the Edge is the former. With only three tracks and clocking in at barely under forty minutes, it's a behemoth to try and digest, but doing so is more than worth the while.
The first song (in fact, in the original vinyl, the whole first side - not unlike Rush's "2112" or "Hemispheres") is the title track, one that starts with ambient sounds before erupting in a funkadelic beat. The bass, guitars, and keyboards are all going in different directions, soaring and weaving into one another, until vocal harmonies break through, silence everything, and it all coalesces into a wonderful whole, until the motif for the song is presented. The vocals are nearly always in harmony, and it flies quickly from quiet to loud with abandon, and the lyrics are mystical and spiritual. The real shining instrument here is Rick Wakeman's keyboard - he stands out among other very talented musicians, especially during that vibrant, effulgent organ section. It's one of the best examples of early progressive rock you'll ever hear.
This continues throughout the next two tracks as well, "And You and I" as well as "Siberian Khatru". The former continues an eastern, mystical motif musically and lyrically; it is about renewal and rebirth, whereas the latter seethes with energy and has a great beat and catchy syncopated guitar work. Both also exemplify what early progressive rock was, and it's obvious why this is regarded as many to be Yes' best album.
Final verdict: Adore it (with a mind for expansion)
Peter
Ah Yes. One of the quintessential progressive rock bands, even though they probably need it, they should require no introduction. Certainly groundbreaking, often innovative, Yes has long been a rotating cast of very skilled musicians.
Oh, and they are boring.
Yeah, I said it. Boooooooooring. Like insomniac curing boring. In fact, there is really only one song of theirs I can even stand. "Roundabout" is a decent track that wears out its welcome if you aren't hearing the radio edit.
So what can I say about Close to the Edge? It is an epic, sprawling work that is full of pseudo-mystical lyrics, impressive yet incredibly subdued music (even when "energetic"), piercingly high vocals and ZZZZZZZZZZZZZZZZZZZZZZZZZZZ. . .
Final verdict: Ignore it (unless you need some help with your insomnia)
Monday, May 31, 2010
Point-Counterpoint: AC/DC - Iron Man 2 Soundtrack
Braeden
I've never said this out loud before. (And I guess this is written, so I've still never said it out loud.) I'm a closet AC/DC fan.
In fact, I have been for years. In fact, I've mostly ridiculed them when other people have mentioned them. Never have I liked them enough to buy an album or anything (mostly because, let's be honest - an AC/DC album is mostly filler, with a few really shining moments of awesome). But I don't need to anymore.
Thanks to the Iron Man 2 soundtrack.
This has compiled all of the AC/DC songs that are worth remembering and listening to into one compact little package. And it is a doozy - it's got "Highway to Hell", "Back in Black", "TNT" and "Thunderstruck", among others.
And it isn't until you start hearing them all together in this way that you see how pervasive AC/DC is as a band. You know the riff from just about every song on the album - they've been heard in just about every time and place imaginable. It's nothing complex or technical, but it's darn fun - and I can legitimately say that it's really great to drive with. You feel just like Tony Stark (that is, if Tony Stark drove a Hyundai Accent).
Final verdict: Adore it (just don't get pulled over while cruising to it)
Peter
The Iron Man 2 Soundtrack. "Okay," says I when my partner in writing suggests this. I head to Amazon.com to check it out, and it has some big AC/DC title on it. So I read up a bit. Turns out, someone must have wanted to save time and make a little extra cash on the side. 'Cause guess what folks? This is a cheap cash grab, nothing more.
Sort of a "greatest hits" group of tracks here, what you have are some classic AC/DC tunes, mixed in with some not so great songs. There is no question that tracks like "Back in Black", "TNT" and "Thunderstruck" are classics. But do you really need to hear them again?
I mean, any track worth listening to on this album can be heard in any 90 minute span on any classic rock or rock radio station. And if you aren't so familiar with them that you kind of throw up in your mouth every time you hear them, well then I think you are the type of fool they are looking for. You know what they say about a fool and his/her money. . .
Final verdict: Ignore it (as the blatant money grab it so obviously is)
I've never said this out loud before. (And I guess this is written, so I've still never said it out loud.) I'm a closet AC/DC fan.
In fact, I have been for years. In fact, I've mostly ridiculed them when other people have mentioned them. Never have I liked them enough to buy an album or anything (mostly because, let's be honest - an AC/DC album is mostly filler, with a few really shining moments of awesome). But I don't need to anymore.
Thanks to the Iron Man 2 soundtrack.
This has compiled all of the AC/DC songs that are worth remembering and listening to into one compact little package. And it is a doozy - it's got "Highway to Hell", "Back in Black", "TNT" and "Thunderstruck", among others.
And it isn't until you start hearing them all together in this way that you see how pervasive AC/DC is as a band. You know the riff from just about every song on the album - they've been heard in just about every time and place imaginable. It's nothing complex or technical, but it's darn fun - and I can legitimately say that it's really great to drive with. You feel just like Tony Stark (that is, if Tony Stark drove a Hyundai Accent).
Final verdict: Adore it (just don't get pulled over while cruising to it)
Peter
The Iron Man 2 Soundtrack. "Okay," says I when my partner in writing suggests this. I head to Amazon.com to check it out, and it has some big AC/DC title on it. So I read up a bit. Turns out, someone must have wanted to save time and make a little extra cash on the side. 'Cause guess what folks? This is a cheap cash grab, nothing more.
Sort of a "greatest hits" group of tracks here, what you have are some classic AC/DC tunes, mixed in with some not so great songs. There is no question that tracks like "Back in Black", "TNT" and "Thunderstruck" are classics. But do you really need to hear them again?
I mean, any track worth listening to on this album can be heard in any 90 minute span on any classic rock or rock radio station. And if you aren't so familiar with them that you kind of throw up in your mouth every time you hear them, well then I think you are the type of fool they are looking for. You know what they say about a fool and his/her money. . .
Final verdict: Ignore it (as the blatant money grab it so obviously is)
Saturday, May 29, 2010
Point-Counterpoint Classic: Anthrax - Persistence of Time
Peter
Okay, this one isn't even fair. I totally am cherry picking here. But as I said in a previous article, I have been feeling the need to just sink my teeth into something I already know I love. Welcome, then, to my brief trip back to High School, and one of the albums that opened my eyes and mind.
I always knew I liked rock. I gravitated to the sound of a distorted electric guitar early on. Songs like "Money for Nothing", "Pour Some Sugar on Me", and "Modern Day Cowboy" captivated my tween year old mind in the 80s. But it wouldn't be until the 90s that I realized that I really was a metal head. In respect to my good upbringing, I had veered far away from any of those "evil" metal bands, and Anthrax was just one such band.
That all changed when a friend lent me Persistence of Time. I was completely blown away. I suddenly realized that yes, this band played heavy freaking metal. But what I didn't expect was the talent I was met with. Amazing guitar work, powerful, rapid drumming, and surprisingly politically/socially conscious lyrics all culminated to create an album that sent my musical world reeling. Suddenly heavy metal wasn't evil. It was awesome.
Since that time, my musical tastes have broadened (somewhat, though admittedly no where near as broad as my brother), but metal remains at the roots of it all. And in there, with the best of any of those albums, you will find Persistence of Time, an example of one of the very best thrash metal albums of all time. The songs still hold up today, 20 years later, just as well as they did back then. The lyrics, while admittedly simplistic and heavy handed at times, deal with issues we still are dealing with today (racism, divorce, hate). In short, I love this album as much, if not more, than I did when I first heard it so many years ago.
Final verdict: Adore it (as one of the seminal albums in American thrash metal)
Braeden
There's nothing wrong with a bit of cherry picking when it comes to album reviews - how better to introduce people to your favorites, so that they can put your other opinions in context?
However, I don't hold this album in quite the regard Peter does. I remember picking up a used copy years ago, but I never really got into it (thrash isn't my thing, I guess - I can't really think of ANY thrash CDs I own anymore). I must've given it away or sold it back used to a place, because I couldn't find it for the life of me when my co-conspirator here decided this should be our next joint article.
However, I can honestly say that it's a great album - a perfect example of what American thrash was, and what it can be again. It's ugly, grating, complex, and blistering. As Peter mentioned, the lyrics are inane, but inane in a way that only wonderful eighties bands can be - it's endearing rather than off-putting.
As mentioned, I do have broad tastes - arguably TOO broad for some people. However, re-listening to this gigantic album has brought me back to my heavy metal roots and has made a perfect accompaniment to my workouts for the last week.
Final verdict: Adore it (with a smile and a nod to the old-time thrash masters)
Okay, this one isn't even fair. I totally am cherry picking here. But as I said in a previous article, I have been feeling the need to just sink my teeth into something I already know I love. Welcome, then, to my brief trip back to High School, and one of the albums that opened my eyes and mind.
I always knew I liked rock. I gravitated to the sound of a distorted electric guitar early on. Songs like "Money for Nothing", "Pour Some Sugar on Me", and "Modern Day Cowboy" captivated my tween year old mind in the 80s. But it wouldn't be until the 90s that I realized that I really was a metal head. In respect to my good upbringing, I had veered far away from any of those "evil" metal bands, and Anthrax was just one such band.
That all changed when a friend lent me Persistence of Time. I was completely blown away. I suddenly realized that yes, this band played heavy freaking metal. But what I didn't expect was the talent I was met with. Amazing guitar work, powerful, rapid drumming, and surprisingly politically/socially conscious lyrics all culminated to create an album that sent my musical world reeling. Suddenly heavy metal wasn't evil. It was awesome.
Since that time, my musical tastes have broadened (somewhat, though admittedly no where near as broad as my brother), but metal remains at the roots of it all. And in there, with the best of any of those albums, you will find Persistence of Time, an example of one of the very best thrash metal albums of all time. The songs still hold up today, 20 years later, just as well as they did back then. The lyrics, while admittedly simplistic and heavy handed at times, deal with issues we still are dealing with today (racism, divorce, hate). In short, I love this album as much, if not more, than I did when I first heard it so many years ago.
Final verdict: Adore it (as one of the seminal albums in American thrash metal)
Braeden
There's nothing wrong with a bit of cherry picking when it comes to album reviews - how better to introduce people to your favorites, so that they can put your other opinions in context?
However, I don't hold this album in quite the regard Peter does. I remember picking up a used copy years ago, but I never really got into it (thrash isn't my thing, I guess - I can't really think of ANY thrash CDs I own anymore). I must've given it away or sold it back used to a place, because I couldn't find it for the life of me when my co-conspirator here decided this should be our next joint article.
However, I can honestly say that it's a great album - a perfect example of what American thrash was, and what it can be again. It's ugly, grating, complex, and blistering. As Peter mentioned, the lyrics are inane, but inane in a way that only wonderful eighties bands can be - it's endearing rather than off-putting.
As mentioned, I do have broad tastes - arguably TOO broad for some people. However, re-listening to this gigantic album has brought me back to my heavy metal roots and has made a perfect accompaniment to my workouts for the last week.
Final verdict: Adore it (with a smile and a nod to the old-time thrash masters)
Tuesday, May 25, 2010
Point-Counterpoint: Queens of the Stone Age - Songs for the Deaf
Braeden
I came to Queens of the Stone Age the long way around - never mind the fact that they've been playing these guys on x96 for years.
I had a friend online who was a huge fan of Masters of Reality, and I started listening to them. They typify everything great about the misnamed "stoner rock" scene, and through them I came to start listening to other bands in the genre - of which QotSA is the best example.
And this is their best record. It's loud, brash, unapologetic, and mean. It starts heavy and stays heavy throughout, with moments of calm hidden throughout, but even in the quiet passages, the loud is right around the corner once again - which is just the way I like it.
One of the things that I've come to love about the album is something that initially annoyed me a bit are the radio station interludes - the whole album is presented as the soundtrack to a drive, and in between many of the songs there are the sounds of tuning around the dial, with each station playing different songs off of the record. Yes, I found it a little weird and off-putting from the beginning, but it's become one of its many charms.
And the songs in between all these interludes are memorable. Album opener "Millionaire" starts the disc in just the right place, followed by the single and the song you've probably heard off it if you've heard anything - "No One Knows" is a catchy, lucid tune. Sort-of album titler "Song for the Deaf" is mean and grungy, and the similarly titled "Song of the Dead" is equally so. And everything else in between? Also great.
Final verdict: Adore it (and enjoy it when you're feeling persnickety)
Peter
Two key points to get out in the open right up front. First, these point-counterpoints are not full album reviews. They just aren't. That will be important later. Second, I am a very finicky music fan.
As to the first point, that means that I don't feel the same onus to really, really listen to all these choices. That is good for me because, to be entirely honest, I don't have that much time to listen to music. I have to actually work it in to my day. It is an effort to listen to music. This plays directly into the second point (almost called it number two, but thought that would be juvenile, so I didn't). Because I have to actually work music into my day, I can be very picky.
Now that that is all out of the way, let's get down to this album. I was aware of Queens of the Stone Age, but had not knowingly heard their music. So when Braeden selected this as our next album I welcomed the excuse to familiarize myself with the band. What you have here is a fuzzy, raunchy mix of solid rock with some metal overtones. On paper that looks great.
Unfortunately, something about this album just kept itself distanced from me. I never really felt interested by the songs. I enjoyed the "radio" theme they had going on, and thought it was an interesting twist on the album. And the music certainly had moments. But the moments were not enough to draw me in. I often found myself fighting the urge to hit "next" on the iPod about halfway through each track.
I suppose the fact that I have already deleted this from the iPod tells the story. While I didn't have the immediate rejection of it that I have with some others, I just didn't find anything that interested me or made me want to go back for more. As such, I won't discount this one out of hand, but I personally won't be going back for seconds.
Final verdict: Explore it (just explore it without me, I'm done exploring this one)
I came to Queens of the Stone Age the long way around - never mind the fact that they've been playing these guys on x96 for years.
I had a friend online who was a huge fan of Masters of Reality, and I started listening to them. They typify everything great about the misnamed "stoner rock" scene, and through them I came to start listening to other bands in the genre - of which QotSA is the best example.
And this is their best record. It's loud, brash, unapologetic, and mean. It starts heavy and stays heavy throughout, with moments of calm hidden throughout, but even in the quiet passages, the loud is right around the corner once again - which is just the way I like it.
One of the things that I've come to love about the album is something that initially annoyed me a bit are the radio station interludes - the whole album is presented as the soundtrack to a drive, and in between many of the songs there are the sounds of tuning around the dial, with each station playing different songs off of the record. Yes, I found it a little weird and off-putting from the beginning, but it's become one of its many charms.
And the songs in between all these interludes are memorable. Album opener "Millionaire" starts the disc in just the right place, followed by the single and the song you've probably heard off it if you've heard anything - "No One Knows" is a catchy, lucid tune. Sort-of album titler "Song for the Deaf" is mean and grungy, and the similarly titled "Song of the Dead" is equally so. And everything else in between? Also great.
Final verdict: Adore it (and enjoy it when you're feeling persnickety)
Peter
Two key points to get out in the open right up front. First, these point-counterpoints are not full album reviews. They just aren't. That will be important later. Second, I am a very finicky music fan.
As to the first point, that means that I don't feel the same onus to really, really listen to all these choices. That is good for me because, to be entirely honest, I don't have that much time to listen to music. I have to actually work it in to my day. It is an effort to listen to music. This plays directly into the second point (almost called it number two, but thought that would be juvenile, so I didn't). Because I have to actually work music into my day, I can be very picky.
Now that that is all out of the way, let's get down to this album. I was aware of Queens of the Stone Age, but had not knowingly heard their music. So when Braeden selected this as our next album I welcomed the excuse to familiarize myself with the band. What you have here is a fuzzy, raunchy mix of solid rock with some metal overtones. On paper that looks great.
Unfortunately, something about this album just kept itself distanced from me. I never really felt interested by the songs. I enjoyed the "radio" theme they had going on, and thought it was an interesting twist on the album. And the music certainly had moments. But the moments were not enough to draw me in. I often found myself fighting the urge to hit "next" on the iPod about halfway through each track.
I suppose the fact that I have already deleted this from the iPod tells the story. While I didn't have the immediate rejection of it that I have with some others, I just didn't find anything that interested me or made me want to go back for more. As such, I won't discount this one out of hand, but I personally won't be going back for seconds.
Final verdict: Explore it (just explore it without me, I'm done exploring this one)
Thursday, May 20, 2010
Point-Counterpoint: Novembre - The Blue
Peter
Novembre is another band I discovered through the wonders of the internet and Pandora.com. They showed up on my Katatonia station as another example of the melancholic, haunting music those Swedes are so adept at. And with good reason.
The Blue is their most recent effort. Novembre is an interesting band. They started out as an Italian death metal band. However, over the years they have evolved into something much more interesting, and nowhere is that more evident than on The Blue. Yes, there are harsh, death metal style vocals. Yes, there is thunderous double bass drumming. Yes, there is no shortage of crushing metal guitars.
However, there is also an almost ethereal quality to the music, a sense of artistry that takes these heavy element and crafts them into something exquisite, with an almost porcelain beauty. There are moments when it is easy to forget just how heavy this album can be because of the delicate aspects of so many of the songs.
Novembre expertly balances all their influences on The Blue. From distorted to clean acoustic guitars, from light, airy vocals to harsh growls, the album keeps you always guessing as to what will come next. This is only heightened by the unorthodox song structure. Gone is the ABABCBB song structure that is so common to modern music. Novembre will take you from A to F, but how it gets there is a real mystery and treat. Some tracks will have repeated motifs, but most move gently from one passage to the next with little to no repetition. It is a breath of fresh air.
Final Verdict: Adore it (and don't let the harsh vocals get you, there is real brilliance here)
Braeden
The real beauty of this disc is hidden in the carefully crafted, subtle guitar melodies that weave through each song. They're flying by so fast and are mixed really low in the mastering, so you don't even notice they're there half the time - and more's the pity.
In fact, that's my only genuine complaint about the album - I would have made the melodic guitar parts more prominent and mixed the rhythm section a little lower. But if that's my BIGGEST complaint, that's proof positive how great this album is.
It seethes with honesty and beauty. It feels like the kind of thing that took years to create, but seems simultaneously effortless and smooth.
Final verdict: Adore it (and let the melodies take you away on wonderful journeys)
Novembre is another band I discovered through the wonders of the internet and Pandora.com. They showed up on my Katatonia station as another example of the melancholic, haunting music those Swedes are so adept at. And with good reason.
The Blue is their most recent effort. Novembre is an interesting band. They started out as an Italian death metal band. However, over the years they have evolved into something much more interesting, and nowhere is that more evident than on The Blue. Yes, there are harsh, death metal style vocals. Yes, there is thunderous double bass drumming. Yes, there is no shortage of crushing metal guitars.
However, there is also an almost ethereal quality to the music, a sense of artistry that takes these heavy element and crafts them into something exquisite, with an almost porcelain beauty. There are moments when it is easy to forget just how heavy this album can be because of the delicate aspects of so many of the songs.
Novembre expertly balances all their influences on The Blue. From distorted to clean acoustic guitars, from light, airy vocals to harsh growls, the album keeps you always guessing as to what will come next. This is only heightened by the unorthodox song structure. Gone is the ABABCBB song structure that is so common to modern music. Novembre will take you from A to F, but how it gets there is a real mystery and treat. Some tracks will have repeated motifs, but most move gently from one passage to the next with little to no repetition. It is a breath of fresh air.
Final Verdict: Adore it (and don't let the harsh vocals get you, there is real brilliance here)
Braeden
The real beauty of this disc is hidden in the carefully crafted, subtle guitar melodies that weave through each song. They're flying by so fast and are mixed really low in the mastering, so you don't even notice they're there half the time - and more's the pity.
In fact, that's my only genuine complaint about the album - I would have made the melodic guitar parts more prominent and mixed the rhythm section a little lower. But if that's my BIGGEST complaint, that's proof positive how great this album is.
It seethes with honesty and beauty. It feels like the kind of thing that took years to create, but seems simultaneously effortless and smooth.
Final verdict: Adore it (and let the melodies take you away on wonderful journeys)
Tuesday, May 18, 2010
Point-Counterpoint: Jaga Jazzist - One Armed Bandit
Braeden
I love jazz. I really, really do. I know that people think I'm weird sometimes because of that, because jazz is often seen as an intellectual effort that is at best ignored, at worst reviled. But I'm not one of those revilers - I find it a wonder.
And experimental jazz? Even more so. I like music that pushes the envelope and demands attention from its listeners, regardless of the genre. And when it comes to experimental jazz, there is no group that does more than Jaga Jazzist. Their 2005 release, What We Must, is certainly one of my favorite albums of all time - and a seminal jazz release. So how does their follow up from this year, One Armed Bandit, hold up to the hype they generated five years ago?
Better than I ever could have hoped.
There is more of a focus on rock influences, and one could make a case that much of this album feels more like a post-rock band rather than a Scandinavian experimental jazz group. But there's more than that going on - there's bits of electro, fuzz, and even shades of Mannheim Steamroller when you hear the harpsichords coming in. And don't forget plenty of seventies-era psychedelic progressive rock . . .
"Prognissekongen" and "Toccata" are the clear standout tracks for me, with heavy bass and polyrhythms flowing every which way, but there are plenty of great songs that all flow into each other and create a sense of completeness. "One Armed Bandit" starts the album out strong, and "Music! Dance! Drama!" have big horn sections, lots of electronica, and melodies that captivate.
Final Verdict: Adore it (with a virgin daiquiri and plenty of time to chill out)
Peter
Another new one for me. I was aware of my brother's love of Jaga Jazzist, having seen countless plays on last.fm and with his recent review of their previous release. When he picked this album, I was excited for the opportunity to check out his band he so adores.
Now, after listening, I have to say that my excitement is somewhat tempered. But only somewhat. Jazz is one of those styles of music I appreciate more on an intellectual level than on a visceral level, and One Armed Bandit exemplifies this well. There is a lot of fascinating music to be found. Rhythmically, the album is very interesting. The multitude of different styles that are pulled into the music keeps the listener on his/her toes.
However, in the time I have spent with the music, it has not connected with me on any level other than intellectual. With time, it is possible this could change and I could develop more of a connection to the music. But this will certainly take time. As such, I can definitely state that I find the music fascinating, but not captivating.
Final Verdict: Explore it (but you will need to let it sink in)
I love jazz. I really, really do. I know that people think I'm weird sometimes because of that, because jazz is often seen as an intellectual effort that is at best ignored, at worst reviled. But I'm not one of those revilers - I find it a wonder.
And experimental jazz? Even more so. I like music that pushes the envelope and demands attention from its listeners, regardless of the genre. And when it comes to experimental jazz, there is no group that does more than Jaga Jazzist. Their 2005 release, What We Must, is certainly one of my favorite albums of all time - and a seminal jazz release. So how does their follow up from this year, One Armed Bandit, hold up to the hype they generated five years ago?
Better than I ever could have hoped.
There is more of a focus on rock influences, and one could make a case that much of this album feels more like a post-rock band rather than a Scandinavian experimental jazz group. But there's more than that going on - there's bits of electro, fuzz, and even shades of Mannheim Steamroller when you hear the harpsichords coming in. And don't forget plenty of seventies-era psychedelic progressive rock . . .
"Prognissekongen" and "Toccata" are the clear standout tracks for me, with heavy bass and polyrhythms flowing every which way, but there are plenty of great songs that all flow into each other and create a sense of completeness. "One Armed Bandit" starts the album out strong, and "Music! Dance! Drama!" have big horn sections, lots of electronica, and melodies that captivate.
Final Verdict: Adore it (with a virgin daiquiri and plenty of time to chill out)
Peter
Another new one for me. I was aware of my brother's love of Jaga Jazzist, having seen countless plays on last.fm and with his recent review of their previous release. When he picked this album, I was excited for the opportunity to check out his band he so adores.
Now, after listening, I have to say that my excitement is somewhat tempered. But only somewhat. Jazz is one of those styles of music I appreciate more on an intellectual level than on a visceral level, and One Armed Bandit exemplifies this well. There is a lot of fascinating music to be found. Rhythmically, the album is very interesting. The multitude of different styles that are pulled into the music keeps the listener on his/her toes.
However, in the time I have spent with the music, it has not connected with me on any level other than intellectual. With time, it is possible this could change and I could develop more of a connection to the music. But this will certainly take time. As such, I can definitely state that I find the music fascinating, but not captivating.
Final Verdict: Explore it (but you will need to let it sink in)
Sunday, May 16, 2010
Point-Counterpoint: Gordian Knot - Emergent
Peter
I came to Gordian Knot in a roundabout sort of way. I first became familiar with Sean Malone due to his stellar bass work on the first OSI disc. I then came (far too late) to the party that was Cynic. I was blown away. I had to hear more.
Enter Emergent, the second album from Gordian Knot. The band really is Sean Malone's project, with a rotating cast of supporting players. At the heart of it, you have a jazz inspired rock/fusion. There is no shortage of electric guitars and dynamic bass playing.
However, Sean Malone isn't afraid to really embrace the jazz aspect. There are plenty of moments that have an organic, jam feel to them. Other moments feel very thought out and focused. And while there certainly is rock, rock isn't the only side to the music here. "Mutterspache" is a fantastic way to kick the album into high gear after a lovely bass intro in "Arsis". For me, though, the highlight is the achingly beautiful "Grace", a live version of a song off the first album. It is sweet, plaintive and simply one of the most memorable and sublime songs I have ever heard. While the first Gordian Knot album was lacking in a few areas, Emergent is a fully realized, moving and powerful record.
Final Verdict: Adore it (and make sure to take the time to let this sink in)
Braeden
Everything Peter said about this album is true - it is a great fusion album, filled to the brim with impressive musicianship and meticulous songwriting. Malone is a bassist unlike most others, with a sense toward jazz style and improvisation that most rock bassists wish they could have and never will.
Moreover, the guest musicians that Malone brings in are cream of the crop people with years of experience in progressive rock and other media. We've got Steve Hackett of Genesis fame, Jim Matheos (mastermind behind that all-important archetype of progressive metal, Fates Warning), Bill Bruford - who has spent time playing with both Yes and King Crimson, among others. Each of their contributions can be felt in little ways in the overall style of the record, from the more psychedelic stuff to the heavier aspects.
And it all just works together so well. At heart, this album is truly a jazz record; the fact that they use rock instruments and musicians does nothing to deter the fact that it has all the style, grace, and sophistication of basically any other great jazz fusion album. In the classic tradition of Miles Davis' Bitches' Brew, the Weather Report's eponymous album, or Chick Corea and Return to Forever's seminal Light as a Feather, Emergent combines everything I love about jazz - the fluidity, the improvisation, the exploration - with the tropes of great rock.
Final verdict: Adore it (and sit back, zone out, and enjoy)
I came to Gordian Knot in a roundabout sort of way. I first became familiar with Sean Malone due to his stellar bass work on the first OSI disc. I then came (far too late) to the party that was Cynic. I was blown away. I had to hear more.
Enter Emergent, the second album from Gordian Knot. The band really is Sean Malone's project, with a rotating cast of supporting players. At the heart of it, you have a jazz inspired rock/fusion. There is no shortage of electric guitars and dynamic bass playing.
However, Sean Malone isn't afraid to really embrace the jazz aspect. There are plenty of moments that have an organic, jam feel to them. Other moments feel very thought out and focused. And while there certainly is rock, rock isn't the only side to the music here. "Mutterspache" is a fantastic way to kick the album into high gear after a lovely bass intro in "Arsis". For me, though, the highlight is the achingly beautiful "Grace", a live version of a song off the first album. It is sweet, plaintive and simply one of the most memorable and sublime songs I have ever heard. While the first Gordian Knot album was lacking in a few areas, Emergent is a fully realized, moving and powerful record.
Final Verdict: Adore it (and make sure to take the time to let this sink in)
Braeden
Everything Peter said about this album is true - it is a great fusion album, filled to the brim with impressive musicianship and meticulous songwriting. Malone is a bassist unlike most others, with a sense toward jazz style and improvisation that most rock bassists wish they could have and never will.
Moreover, the guest musicians that Malone brings in are cream of the crop people with years of experience in progressive rock and other media. We've got Steve Hackett of Genesis fame, Jim Matheos (mastermind behind that all-important archetype of progressive metal, Fates Warning), Bill Bruford - who has spent time playing with both Yes and King Crimson, among others. Each of their contributions can be felt in little ways in the overall style of the record, from the more psychedelic stuff to the heavier aspects.
And it all just works together so well. At heart, this album is truly a jazz record; the fact that they use rock instruments and musicians does nothing to deter the fact that it has all the style, grace, and sophistication of basically any other great jazz fusion album. In the classic tradition of Miles Davis' Bitches' Brew, the Weather Report's eponymous album, or Chick Corea and Return to Forever's seminal Light as a Feather, Emergent combines everything I love about jazz - the fluidity, the improvisation, the exploration - with the tropes of great rock.
Final verdict: Adore it (and sit back, zone out, and enjoy)
Sunday, May 09, 2010
Point-Counterpoint: Extra Life - Secular Works
Braeden
If there is one way to describe Extra Life's debut album, it's overwhelming. Purely, sublimely, overwhelming. Secular Works is not the kind of album you come to really get your first or second (or, to be honest, even your tenth or twentieth) time through. It's such a hodgepodge of musical ideas, I'm not even sure where to start talking about it.
I suppose I'll start, arbitrarily, with the vocals. In terms of voice quality, they're nothing overwhelming or worth writing home about - but it's in the melody lines that are sung that the true genius lines. They weave through uncomfortable, foreign modes, far from the realm of normal, acceptable music. Here, the vocals are far more an instrument as part of the mix rather than the focal point for the listener.
And the rest of the music is equally baffling. The guitar work is frenetic and driven, while feeling completely improvised and free. So too are the violin and bass - all seem to be playing whatever they want, and yet they coincide at the necessary moments (signaled by the loud, brash drums) and the cacophony finds unity and harmony.
The music is not what one expects - it sounds like modal Gregorian chant ran headlong into an improvisational heavy metal outfit, pushing it into the side of an experimental violinist. It's not for the faint of heart, and I'm not surprised when people hear it and don't like it. But I do - a lot.
Final verdict: Adore it (with a mind for befuddlement)
Peter
Wow. Just wow. This was my first introduction to Extra Life, and what an introduction it is. There is sort of a "kitchen sink" mentality going on here. But that is odd, because it isn't as if there are tons of instruments or such here. It is more the feeling. The songs have so much going on rhythmically, melodically and harmonically that they feel packed to the brim, even in the more sparse moments.
The vocals certainly stand out. I'm still not sure if that is a good thing or not, but unique they are. The vocal melodies often contrast against the music, and seem almost haphazard. However, I have no doubt that, despite the apparent chaos in the music, it is all very planned out.
The end result is music that is anything but comfortable. You aren't going to be humming any of these songs when the disc is done. In fact, you probably aren't even going to remember most of the music when it is over, until you have listened again and again. It is, however, interesting and fascinating if you can get over the high "price of admission".
Final Verdict: Explore it (but you're going to need to be very sober to not be nauseated by the musical twists and turns)
If there is one way to describe Extra Life's debut album, it's overwhelming. Purely, sublimely, overwhelming. Secular Works is not the kind of album you come to really get your first or second (or, to be honest, even your tenth or twentieth) time through. It's such a hodgepodge of musical ideas, I'm not even sure where to start talking about it.
I suppose I'll start, arbitrarily, with the vocals. In terms of voice quality, they're nothing overwhelming or worth writing home about - but it's in the melody lines that are sung that the true genius lines. They weave through uncomfortable, foreign modes, far from the realm of normal, acceptable music. Here, the vocals are far more an instrument as part of the mix rather than the focal point for the listener.
And the rest of the music is equally baffling. The guitar work is frenetic and driven, while feeling completely improvised and free. So too are the violin and bass - all seem to be playing whatever they want, and yet they coincide at the necessary moments (signaled by the loud, brash drums) and the cacophony finds unity and harmony.
The music is not what one expects - it sounds like modal Gregorian chant ran headlong into an improvisational heavy metal outfit, pushing it into the side of an experimental violinist. It's not for the faint of heart, and I'm not surprised when people hear it and don't like it. But I do - a lot.
Final verdict: Adore it (with a mind for befuddlement)
Peter
Wow. Just wow. This was my first introduction to Extra Life, and what an introduction it is. There is sort of a "kitchen sink" mentality going on here. But that is odd, because it isn't as if there are tons of instruments or such here. It is more the feeling. The songs have so much going on rhythmically, melodically and harmonically that they feel packed to the brim, even in the more sparse moments.
The vocals certainly stand out. I'm still not sure if that is a good thing or not, but unique they are. The vocal melodies often contrast against the music, and seem almost haphazard. However, I have no doubt that, despite the apparent chaos in the music, it is all very planned out.
The end result is music that is anything but comfortable. You aren't going to be humming any of these songs when the disc is done. In fact, you probably aren't even going to remember most of the music when it is over, until you have listened again and again. It is, however, interesting and fascinating if you can get over the high "price of admission".
Final Verdict: Explore it (but you're going to need to be very sober to not be nauseated by the musical twists and turns)
Wednesday, May 05, 2010
Point-Counterpoint: Moonspell - Night Eternal
Peter
Too often in modern culture the term "gothic" brings to mind lame, pseudo-emo kids who are trying to be a bit more edgy. There is nothing gothic about wearing black and white stripped leggings. Keep trying.
Moonspell is a Portuguese band that delivers fantastic gothic metal. And that is nowhere more evident than on their latest album, Night Eternal. The album is a nonstop crushing blend of black metal sensibility with gothic metal overtones. Orchestration and hauntingly beautiful keyboard layers (including ethereal choral tracks) add depth to the pummeling double bass onslaught.
Harsh vocals are juxtaposed with clean, deep baritones passages and occasional whispered lyrics. Every track is dripping with a distinctly dark, gothic atmosphere. "Shadow Sun" is the prime example, vacillating between slow, brooding verses and frenetic driving choruses. Yet even in the frantic moments, the album retains its funereal mood. Finally, the guest vocal work of Anneke van Giersbergen on "Scorpion Flower" is worth the price of admission alone. If you aren't familiar with her uniquely angelic voice, go. Listen. Now.
Final Verdict: Adore it (but leave the black lipstick and nail polish at home, this isn't for poseurs)
Braeden
I've never been much of a fan of gothic metal, and usually when a singer has a really noticeable accent, it turns me off to the music altogether.
And yet I've spent all day wrapping my head around this CD, and I'm surprised to say that I quite enjoy it. Sure, the accent is a little distracting - especially in the spoken word opening. And yes, the cover is goofy looking. But the music is pretty awesome levels of brutal - just the right mix of heavy and calm. It oozes sensation; it seethes like a perfect storm. (And, as Peter mentioned, any reason to hear Anneke van Giersebergen is reason enough to give an album a try - her work with Devin Townsend, Arjen Lucassen and especially with her own bands The Gathering and Agua de Annique are all impeccable, and her voice sounds as splendid as ever here.)
The level of musicianship here is really quite astounding - and the production is clean, effective, and punchy. The bass is plenty thumpy, the drum work is effective, the keyboards are wispy and unobtrusive, the guitars are fun and melodic. This really is a pretty great album.
Final verdict: Explore it (while reading a moody, gothic book - but no vampires, please)
Too often in modern culture the term "gothic" brings to mind lame, pseudo-emo kids who are trying to be a bit more edgy. There is nothing gothic about wearing black and white stripped leggings. Keep trying.
Moonspell is a Portuguese band that delivers fantastic gothic metal. And that is nowhere more evident than on their latest album, Night Eternal. The album is a nonstop crushing blend of black metal sensibility with gothic metal overtones. Orchestration and hauntingly beautiful keyboard layers (including ethereal choral tracks) add depth to the pummeling double bass onslaught.
Harsh vocals are juxtaposed with clean, deep baritones passages and occasional whispered lyrics. Every track is dripping with a distinctly dark, gothic atmosphere. "Shadow Sun" is the prime example, vacillating between slow, brooding verses and frenetic driving choruses. Yet even in the frantic moments, the album retains its funereal mood. Finally, the guest vocal work of Anneke van Giersbergen on "Scorpion Flower" is worth the price of admission alone. If you aren't familiar with her uniquely angelic voice, go. Listen. Now.
Final Verdict: Adore it (but leave the black lipstick and nail polish at home, this isn't for poseurs)
Braeden
I've never been much of a fan of gothic metal, and usually when a singer has a really noticeable accent, it turns me off to the music altogether.
And yet I've spent all day wrapping my head around this CD, and I'm surprised to say that I quite enjoy it. Sure, the accent is a little distracting - especially in the spoken word opening. And yes, the cover is goofy looking. But the music is pretty awesome levels of brutal - just the right mix of heavy and calm. It oozes sensation; it seethes like a perfect storm. (And, as Peter mentioned, any reason to hear Anneke van Giersebergen is reason enough to give an album a try - her work with Devin Townsend, Arjen Lucassen and especially with her own bands The Gathering and Agua de Annique are all impeccable, and her voice sounds as splendid as ever here.)
The level of musicianship here is really quite astounding - and the production is clean, effective, and punchy. The bass is plenty thumpy, the drum work is effective, the keyboards are wispy and unobtrusive, the guitars are fun and melodic. This really is a pretty great album.
Final verdict: Explore it (while reading a moody, gothic book - but no vampires, please)
Friday, April 30, 2010
Point-Counterpoint: Porcupine Tree - Signify
Peter
Porcupine Tree blew me away with In Absentia. I decided I needed to hear more. I picked up Deadwing shortly after it was released (that is another album for one of these point-counterpoint articles). Then, while browsing a Borders in Detroit, on my way to yet another residency interview, I picked up Signify.
When I finally had a chance to put it in and listen to it, I was initially thrilled. The opening track is more of a "noise" track, but sets up the rest of the album. "Signify" is a fabulous instrumental number with a great bassline that propels the track. Then the organ intro to the third track kicked in. Suddenly I wasn't in Kansas anymore. I'm not even sure I made it through the entire album on that long car ride from Knoxville, TN, to Raleigh, NC (360 miles FYI).
Signify has some great moments, no doubt. However, there are too many skip-worthy tracks on this album for it to be a frequent item on any playlist of mine. There are really strong tracks here. But there is also too much psychedlia/spacey pop stuff for me. Porcupine Tree is a fantastic band, but I definitely prefer their latter work.
Final Verdict: Explore it (probably best explored with mind-altering substances, though no first-hand experience)
Braeden
In Absentia was also my first foray into the world of Porcupine Tree (because, of course, I was introduced to them by Peter. It happens). Following that, I gobbled up every PT album I could get my hands on - and one of the very first I found was Signify.
Porcupine Tree really has three eras in their music - the first was a psychedelic experiment in ambiance, the second was a time of melody-driven power pop, and with In Absentia on it's been heavier and more crushing. As far as that first epoch of their sound goes, Signify is the bright shining example of what Steven Wilson and crew could do.
In points, it's loud and cacophonous; in others, it's spare and empty, carefully weighing the use of sound and silence to the greatest degree. It's filled to overflowing with samples of old radio programs, grounding it in musical history; the bass is very loud (just the way I like it); the drumming by former drummer Chris Maitland (who has gone on to greatness in Guilt Machine) is poppy and slick; and Wilson's guitar work is always detached, antiseptic, and awesome.
In short: I love this album. It's the best thing PT did in their first decade.
Final Verdict: Adore it (with a virgin daiquiri and plenty of time to sit back and enjoy)
Porcupine Tree blew me away with In Absentia. I decided I needed to hear more. I picked up Deadwing shortly after it was released (that is another album for one of these point-counterpoint articles). Then, while browsing a Borders in Detroit, on my way to yet another residency interview, I picked up Signify.
When I finally had a chance to put it in and listen to it, I was initially thrilled. The opening track is more of a "noise" track, but sets up the rest of the album. "Signify" is a fabulous instrumental number with a great bassline that propels the track. Then the organ intro to the third track kicked in. Suddenly I wasn't in Kansas anymore. I'm not even sure I made it through the entire album on that long car ride from Knoxville, TN, to Raleigh, NC (360 miles FYI).
Signify has some great moments, no doubt. However, there are too many skip-worthy tracks on this album for it to be a frequent item on any playlist of mine. There are really strong tracks here. But there is also too much psychedlia/spacey pop stuff for me. Porcupine Tree is a fantastic band, but I definitely prefer their latter work.
Final Verdict: Explore it (probably best explored with mind-altering substances, though no first-hand experience)
Braeden
In Absentia was also my first foray into the world of Porcupine Tree (because, of course, I was introduced to them by Peter. It happens). Following that, I gobbled up every PT album I could get my hands on - and one of the very first I found was Signify.
Porcupine Tree really has three eras in their music - the first was a psychedelic experiment in ambiance, the second was a time of melody-driven power pop, and with In Absentia on it's been heavier and more crushing. As far as that first epoch of their sound goes, Signify is the bright shining example of what Steven Wilson and crew could do.
In points, it's loud and cacophonous; in others, it's spare and empty, carefully weighing the use of sound and silence to the greatest degree. It's filled to overflowing with samples of old radio programs, grounding it in musical history; the bass is very loud (just the way I like it); the drumming by former drummer Chris Maitland (who has gone on to greatness in Guilt Machine) is poppy and slick; and Wilson's guitar work is always detached, antiseptic, and awesome.
In short: I love this album. It's the best thing PT did in their first decade.
Final Verdict: Adore it (with a virgin daiquiri and plenty of time to sit back and enjoy)
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