Showing posts with label Devin Townsend. Show all posts
Showing posts with label Devin Townsend. Show all posts

5 February 2015

INGESTED WANT TO CAREFULLY DRAW OUT A PLAN FOR THE END OF THE HUMAN RACE


Welcome to the first new article after our Pyramid Noise’s brief hiatus. I have recently started a full time work and the transition from having all day to write articles to limited time in the evenings and at weekends has been a bit of a shock. It is safe to say, however, that this Pyramid is not going to crumble but will stand tall for millennia like its brothers in Giza. Well okay maybe not quite that long… whatever here’s a review I gone and did about a Brutal Slam album.

Despite being the Poster Child for the dark extremes of Death Metal, no one could ever really honestly say that Slam goes in for that whole “variance” thing. Slam is chromatic, heavy and is wearing sweatpants with any progression taking the form of gimmicks and not actual development. Unless of course you’re Ingested, who may not of exactly pushed Slam into dimensions unknowable by mankind, but have certainly mixed things up enough to keep Slam interesting.

The Architect of Extinction takes firm steps in to 90's Death Metal territory whilst keeping one foot doggedly in the modern world of Slam. This is the way Ingested have chosen to develop their sound. It may not sound much on paper but mixing a Slam riff driven ethos with old school sensibilities allows the best parts of the genre; the heavy two step grooves of Slam riffs, to be sifted from the worst; only having the heavy two step grooves of Slam riffs. What we have instead are tracks filled with riffs that Slam as much as they Thrash. By combining the signature chromatics of Slam into the more fast paced styling's of Death Metal Ingested have created a style of riffing that is as much 90's Florida as they are 2000's NYC. Of course not forgetting there are slams a-plenty, there would be disappointment abound if such things were omitted. It’s an interesting approach to take with this kind of sound and it is a most welcome change. It doesn't hurt that, unlike a lot of other Modern Non-Traditional Extreme Metal bands, Ingested can actually write some decent Death Metal riffs and not have them sound like filler between breakdown sections.
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Things aren’t all blood-stained rainbows and cannibal unicorns however, as a few things really hurt The Architects of Extinction, though admittedly few of them have little to do with the music itself.
Firstly, the production, courtesy of Cryptopsy's Christian Donaldson who completely brick walls the shit out of everything. There are only two people who can get away with that and they are Phil Spector and Devin Townsend. And since Donaldson is neither of those people his production work makes this release sound like every other over compressed Extreme Metal release. You can't deny, however, that it still sounds really damn heavy, just not uniquely so.

The second thing is likely to make me unpopular, but it did effect my ability to fully enjoy the album. As an extreme genre, Slam and Brutal death have bad had their share of criticisms, especially when it comes to misogyny. Bands, albums and songs that all sound like they’re named after a torture act from a particularly unpleasant and surprisingly sexist version of the film SAW. Now you can say that’s all well and good and that it’s just a joke and to an extent I can agree.

On this album there is a sample however, which I struggle to over look. On the track Endless Despondency, there is a clip taken straight from Elliot Rodger’s final vlog before he killed a whole bunch of people because Women wouldn't sleep with him. This emphasises the link between the genre and misogyny to an uncomfortable level. I'm sure the band don’t condone such things but you've got to ask why they decided to glorify his speech with the outro slot on one of their songs. Is it in the name of cringe worthy brutality? Something that does indeed plague this album just as much as it does many “brutal” bands (‘Speak of the Devil and I will appear…’ I mean c’mon now…) If it is then I’d argue it’s done in poor taste and either way I find myself shifting uncomfortably whenever this part comes on.

Back to the more mundane issues with the music itself. While it is certainly refreshing to not here a band open string chug by default, Ingested have a default all of their own. It goes something like:

>Highly Chromatic 90’s Death Metal inspired Riff
>Tremolo Picking
>Mini-Slam Riff
>??????????????
>Ingested Album

There is enough variety to keep the album listenable, but after a while you can’t help but wish they’d add in some other elements than reverting to the same riff formula over and over. Tracks like I, Despoiler and Penance display melodic aspects that are found in few other places on the album. It’s a real shame as The Architect of Extinction could really use a bit of a mix up at point and those melodic passages are surprisingly well executed. There’s even an acoustic guitar… on a Slam/Brutal Death Metal album… well damn.

So why, after all this, the repetition, the questionable samples and the rather dull production, do I still find myself really enjoying this album? Well the answer is simple, this is Slam infused 90’s Death Metal, it’s not pretending to be anything more and it doesn’t need to. It gets Extremely Heavy Metal down to a tee in a way few other bands manage. In reality I have very few complaints with the actual music on The Architect of Extinction. Repetition? Brutality over Creativity? Get fuckt m8, this is Brutal Slam, your right to complain about such things left at the same time as you teeth left your skull from being punched in the face by the vocalist’s gutturals.  

3.5/5

24 December 2014

BEST ALBUMS OF 2014: #10 - 1 - THE FINALE



It's finally here, the last part of Pyramid Noise's countdown of the Best Albums of 2014. If you've missed the first two parts, they can be found here and here. As with previous lists you can listen along on 8Tracks here, or at the bottom of the page.

Every album in this section deserves the number one spot. This is not in a "Thanks for showing up, have a trophy" kind of way, all of these albums could have taken top billing for very legitimate reasons. Every last one. This year has been a great one for metal and alternative music in general and the qualitative differences between every album on this list is minimal, if there at all. 

So here we go. The final 10.


10: Artificial Brain – Labyrinth Constellation

Artificial Brain get the award this year for best debut full-length release. This is an album unique in the Technical Death Metal genre, managing to both be otherworldly strange yet catchy as the bubonic plague (ABSORBING BLACK IGNITIIIIOOON!). When you see the grim art, courtesy of the new standard in Metal artists, Paolo “Madman” Girardi, gracing the cover, you instantly know of the madness within. This New York Quintet are not content with sweep picking and riffing at 100mph and calling it tech. This is Tech in the same way H.R. Giger is Tech. It is twisted, pulsating and alive, yet you cannot look away. Angular and inhuman riffing meets with only the sludgiest of Death Metal production to create something truly special on this album. If you only listen to one Technical Metal release this year, make sure it is Labyrinth Constellation. It will infect you like it has the rest of us.

9: Black Crown Initiate – The Wreckage of Stars

Black Crown Initiate get the award this year for best debut fu… wait a second… 

*AHEM*

The Wreckage of Stars follows on from the equally fantastic EP; Song Of The Crippled Bull. These guys play Progressive Death Metal in a way opposed to the modern ideas of Progressive Death Metal; Death Metal with some ambient parts thrown in. Instead Black Crown Initiate mix in Folk, yup, finger picked guitar Folk and some of the catchiest choruses you’re likely to hear in Death Metal with their weirdly groovy Prog Death riffery. (And before you ask, no this isn’t the Ensifirum type of Folk.) Whilst some may argue this makes the album “poppy” I say to them pah! Try not to sing along and headbang with Great Mistake. I dare you. With a little more polish, Black Crown Initiate, with their mix of Modern Extreme Metal and Folk elements, are on their way to becoming the Opeth for a new generation. Whilst it is too soon to hold them aloft to that standard, this is still one hell of an album.

8: Revocation – Deathless

I foresee a future in which Revocation have become a house hold name. It is hard to pigeonhole Deathless and doing so would likely be a grave insult. Revocation have released what can only be described as a Metal album, a really, really, fucking great Metal album. It’s Thrash, it’s Death Metal, it’s Metalcore, it’s Melodic Death Metal; it is METAL. They have somehow made an album that is a gestalt conglomerate of traditional Metal styles, but without making an album that you feel you’ve heard before. Revocation have mastered straight up extreme music in a way seldom seen before and likely not seen again. You have A Debt Owed to the Grave to listen to this album.

7: Cynic – Kindly Bent To Free Us

The release of Cynic’s Kindly Bent To Free Us was met with the sound of an infinite number of jimmies being heavily rustled. Instead of pandering to an audience famous for fearing change however, these Floridians embraced Old School Prog Rock and kicked its ass. Paradoxically, this move away from the heavier side of music has created an album that is far less accessible. The songs are longer and denser, time signature wizardry is more prevalent and nothing is done to sacrifice unabashed progression. If Cynic were a lesser band it would be far too easy to meander and get lost in pretence, but Kindly Bent To Free Us doesn’t waste a single note. To many listeners Cynic was a Progressive band first that had Death Metal elements mixed in. By dropping these distractions Cynic have been able to focus on what they’re really good at. This album cements Cynic as the Progressive Powerhouse that they have always been.

6: Mastodon - Once More ‘Round The Sun

You’re probably tired of hearing about how Mastodon have managed to make their signature sound accessible to a pop-music level without sacrificing their intrinsic Mastodonyness. It cannot be overstressed, however, just got good Once More ‘Round The Sun really is. Not since Oblivion has Mastodon been this catchy, it’s next to impossible to spin this album without getting half of it stuck in your head. Though at the same time, it’s as if those melodies entering your skull had some psychotropic effects. This manages to be Mastodon’s most accessible and yet trippiest albums to date. Impeccably addictive song writing meets Georgian Prog on Once More ‘Round The Sun in a miasma of hash smoke. Mastodon have proved here that the lacklustre The Hunter was not the end of them.

5: The Devin Townsend Project – Sky Blue

As much as I personally worship Devin Townsend I was not a fan of Epicloud. Hevy Devy seemed to know what he wanted to do with that release that revelled in 80’s cheesy nostalgia, but I just wasn’t feeling it.  Sky Blue however, the The Devin Townsend Project half of the double Z2 release, manages to be what Epicloud wanted to be all along. Sporting some of the biggest choruses of the Canuck’s career Sky Blue doesn’t pretend it’s anything other than it is. A big cheesy, fun album. You can argue all day that he should keep making Metal or reform Strapping Young Lad or whatever, but when Devin releases something as compulsively listenable, that has and continues to actually make the hairs on my neck stand on end, it’s very hard to complain.

4: Every Time I Die – From Parts Unknown

All I want is for everyone to go to hell, there we can be free and learn to love ourselves.
These are the words emanating from Keith Buckley’s tortured vocal chords at the finale of this, the seventh full-length release from Buffalo Hardcore unit, Every Time I Die. I start with this because it perfectly encapsulates this album. From Parts Unknown is the heaviest the band have been in some time, with some thanks going to the production job done by Kurt Ballou of Converge and God City Studios fame. It is, as with many other ETID albums, twisted and lonely, but there is a certain optimism in this album that was missing from the previous release, Ex-Lives. Every Time I Die are mad at the world, at society, at you, for fucking them over and this is no clearer than on tracks such as the chilling and experimental Moor. At the same time though, tracks like Decayin’ With The Boys shows that all is not lost, it’s a full on Hardcore party anthem. It is and ugly album, but it is honest and it is not going to hold back. With From Parts Unknown Every Time I Die knows the world is a screwed up place, but insist you may as well have a party while you’re here.

3: At The Gates – At War With Reality

At The Gates had two hurdles to overcome with At War With Reality. Firstly they had to live up to the almost 20 year old legacy of Slaughter of the Soul. Secondly, those 20 years have been dense with bands heavily influenced by that release. These are bands SgtD of StuffYouWillHate.com would describe as “AtTheGates-core” and it would only be right that the past-masters release a better album than any of these bands ever could. So it must be asked:

Did they manage it?


Of course they did, what kind of stupid question is that anyway?

Is it as seminal and important to the development of Metal as Slaughter of the Soul? Well no, but few albums are. It is however the album they were always going to make at this point. A really great one. The latest from the Gothenburg giants mixes together Terminal Spirit Disease, The Red in the Sky is Ours and Slaughter of the Soul to create an album that firmly crushes any and all competition born of the last 20 years. At The Gates have reclaimed the Iron Throne of pedal riffs, as we always believed they would.

2: Soen – Tellurian

Soen fill that void that Tool has left in our hearts. Whilst Cognitive, the bands debut, was a pale imitation of Tool’s sound, Tellurian shows that Soen can match Tool blow for blow. There is something wholly organic about this release from the Swedish Super-group. Something the band must have been aware of when they named their album. Tellurian means “of the Earth” or “Organic” if you will. What started as a band pre-occupied with capturing a certain sound, has become a band freed of any need to enforce that influence. The drum and bass focused sound on this album comes free and easy, ranging from heavy progressive grooves to light and ethereal passages.  This is an ambitions album with every track breaking the 5 minute mark.  Despite this, at no point do these tracks feel more than half their actual length. This is a band made up of truly gifted individuals, including ex-Opeth drummer Martin Lopez and it shows. The new refined sound from Soen on Tellurian shows a band finding themselves in the same way that Tool don’t find time to record a new album.

1: The Contortionist – Language

If I could set a theme in alternative music this year, it would be huge changes in style (That and Prog, this year has been great for Prog.) White Arms of Athena, Cynic, Job For a Cowboy and too many more to even list have come through with albums that completely change how they are perceived. None, however, have embraced this change so fully and with such skill as The Contortionist. Leaving behind past attempts at appearing progressive through interspersed ambient synths, Language is an old style progressive rock album. One filtered through the modern sensibilities of the contemporary extreme progressive world. It would not be too farfetched to call them the new Cynic, high praise indeed, but high praise well deserved.  It is not a heavy album, but it is a beautiful one. One that I believe casts aside the notion that modern progressive bands cannot show restraint or taste when writing music. This album is a river, it ebbs and flows, melodies float in and out. At points there is a small waterfall and the heaviness picks up, only to smoothly transition back into the gorgeous, flowing depths that this release provides. If you had ignored The Contortionist before now, I urge you to drink deep from what Language has to offer.

And there it is. The end of our countdown of 2014. It really has been a great year and we can only hope that 2015 provides just as much excellent music.