Showing posts with label Progressive. Show all posts
Showing posts with label Progressive. Show all posts

22 May 2015

SLICE THE CAKE DESTROY CITIES WITH NEW TRACK

Slice the Cake Odyssey To The West

International Deathcore trio Slice the Cake are still sitting on their hotly anticipated new album Odyssey to the West and while there's still no release in sight, we have been favoured by the pastry chef gods of brutality in other ways.
 

And what a mighty fine way it is. This is an absolutely crushing track that only makes the wait for this record harder to bare.


If you're chomping on the bit for more Slice The Cake goodness and haven't yet read our interview with Slice The Cake voice man Gareth Mason or heard the other single from their upcoming album... well... what are you waiting for?

VEIL OF MAYA BECOME ENDLESSLY PREDICTABLE WITH MATRIARCH

Veil of Maya Matriach

I spent quite a long time trying to come up with a deep opinion on the new album, Matriarch, by American Progressive Deathcore outfit Veil of Maya, but after repeated listens and chances I come back to one word to describe just over 30 minutes of music that I can barely remember.

Apathy.

A previous Veil of Maya album, The Modern Man’s Collapse, still makes it into my listening rotation semi-regularly. The lukewarm reaction that Matriarch elicits is not based on a previous, under-running, bias against the Sumerian Records veterans, but that, in 2015, Veil of Maya seem to have nothing more to offer. It is not to say that Veil of Maya were necessarily the architects of Progressive Deathcore, but at one point at least, their sound was new and exciting; the riffs were not just the same riffs heard from other bands… even if their songs had tablature akin to a spilt tin of spaghetti hoops at times. Matriarch, conversely, relies heavily on the trappings of its genre and successfully takes the Progress out of Progressive Deathcore.

Veil of Maya have not lost their technical ability or their penchant for writing decent riffs, at least not completely, but they have fallen into a pit of predictability. It’s conflicting to hear an enjoyable riff, only to have it followed by 3 minutes of everything you’ve come to expect; zoning out completely until the next vaguely interesting bit. This album ticks every box so that it can satisfy the modern definition of its genre and little more. The result is a record listened to with clipboard in hand; the listener just waiting to be able to check the boxes marked “overly syncopated Start-Stop riff written in an obtuse time signature” and “random breakdown that completely ruins the flow.” It is likely you have heard this album before, just with a different names and titles attached and (only slightly) different album art. It’s been released many times before (even by Veil of Maya themselves.)

The only thing that has changed this time around are the vocals. New vocalist Lukas Magyar took over from Brandon Butler in 2014, introducing, controversially, clean vocals to Veil of Maya for the first time. These clean vocals are another nail in the coffin for Matriarch, but not because clean vocals are inherently bad or *insert homophobic slur here* or that Magyar’s performance is anything to complain about. The issue is that sections where Lukas Magyar’s clean vocals come to the forefront underline the complete lack of creativity to be found on this album. This is mainly because these sections all sound lifted from Periphery’s Periphery II: This Time It’s Personal release from 2012. On a first listen I had to double check to make sure that Spencer “Sponce” Sotelo wasn’t a featured artist on this album. It’s a definite bad move for your album to remind me of another, better, album that I could be listening to. Because if I can. I will. And I’m sure I’m not the only one.

If the idea of another album that throws electronics, unsatisfying time signature changes and Morse code (probably delivering messages to undercover sleeper cells) disguised as chugging guitar riffs at you is somehow appealing, then Matriarch is for you. For everyone else, there is a vaguely enjoyable album here, but it’s one you’ve probably already heard. One that follows a very specific formula that, to be fair to Veil of Maya, the band follows very well. It’s just a shame that the formula is no longer just written on the blackboard at the front of the Progcore classroom, but etched there like some kind of commandment of the genre; giving those who look on it with the knowledge of tedious predictability.


2.5/5

27 April 2015

SIKTH ANNOUNCE CROWD FUNDED COMEBACK


UK Tech Metal Godfathers SiKth are considered by many to be the true blueprint to modern Progressive Metal... or Djent if you're so inclined. Yes, the Guitar Tone in Djent is pure Meshuggah, but bands like Periphery and similar owe their riffing styles almost entirely to this Southern England outfit. Don't believe me? Just listen:



Anyway, history lesson aside SiKth last released new music back in 2006 with the stellar Death Of a Dead Day and following a live return at Download Festival last year the group have announced their first new release in almost 10 years... and you can be part of it.

Ladies and gentleman we have two huge pieces of news for you today.For the first time since 2006's Death Of The Dead...
Posted by SikTh (official) on Monday, 27 April 2015

As with all Pledge Campaigns, there is a plethora of goodies that you can get your mitts on should you so desire (and you should, you should desire so hard) and even a UK tour coming up later in the year! Does this mean SiKth are back for good? Well, I guess we'll just have to wait and see.

9 February 2015

FREE MUSIC MONDAY: 09/02/2015

Free Music Monday does exactly what it says on the tin. Every Monday I will scour BandCamp for only the best free albums.

Free Music.


Every Monday!


Got that? Good.


Let's begin. 

Cloudkicker – Little Histories



I’m not really sure why the latest release from one man progressive mastermind, Ben Sharp, hasn’t been mentioned before now. Perhaps I just assumed that everyone in their right mind would have heard it already. Assumptions are dangerous things. This is an album that deserved to be talked about. 

This is Pennsylvanian’s first release since his sting of live dates with the one and only Intronaut as his backing band, but such a huge release has not seemed to diminish the quality of his core output. A first listen puts Little Histories down as a heavier version of a previous Cloudkicker release; Let Yourself Be Huge. Perhaps mixed in with the Subsume release. I say this for two reasons. The first is that while Little Histories is a heavier release, though not incredibly so, it is warm. It is chunky but not angular. You feel at home listening to this release, which is where Let Yourself Be Huge enters the mix. The album reveals in the same Post-Rock world as the earlier album. Focusing on an incredible atmosphere that is completely entrancing and hypnotic. 

This isn’t an urgent release, it is a Post-Rock album that throws a little more heaviness in your direction. It’s a spectacular mix between relaxation and metal, something which sounds like a total paradox until experienced first-hand. Little Histories brings the trademark Cloudkicker atmosphere to some kind of strange mid-point, taking elements of the two distinct styles they Sharp has developed over the course of his career. It is atmospheric and hypnotic without letting go of any heaviness. Yet at the same time it is heavy without letting go of any of the welcoming aura found on Cloudkicker’s softer releases.

This is an album not to be missed by fans of progressive rock and metal. This is a one man project that goes beyond Axe-FX and EzDrummer. This is the real deal and it deserves your attention… And even if this one album doesn’t spark your interest, every core release from Cloudkicker is completely free anyway. You’ve got nothing to lose. 

VOLA – Inmazes



Eclectic Swedish Progressive ensemble, VOLA are a strange beast. Initial seconds of Inmazes make it all too easy to write it off as “just another Djent album” but that’s not really want Inmazes is about at all, or at least not completely. There is some definite Meshuggah worship to be found in the more groove focused parts of this album. Though this heavy down-tuned riffage is couple with a myriad of other influences to create something rather unique. 

Clean, melodious vocals on top of chunky djentisms feels a little wrong to begin with, but it doesn’t take long for your brain to stop caring that it’s “wrong” on focus on what a bang on job VOLA do with it. Riffs made of the heaviest alien concrete meld into psychedelic, chilled and hook laden vocals and synthcapes with keyboard solos. It’s like going from Meshuggah to Mastodon to King Crimson without really noticing any disparity between them. Even the heavy riffs manage to have a unique melodic and atmospheric quality you’d struggle to find in other bands. Merely being able to include that word, “unique,” in a style of music that could be linked closely to the echo chamber that is Djent, is high praise indeed.

It’s strange really. There is a lot on Inmazes that you could point at individually and say “this is derivative of its genre” but when it all comes together Inmazes is a 51 minute progressive journey that you have not seen the likes of before. It is equal parts Modern and Old School, taking influences from the best aspects of the entire Progressive World. This is a debut album that shows a band ready to do almost anything. They’ve already proved themselves capable prog alchemists with their ability to meld the incessantly angular and the impeccably smooth and this is only their first full length! I doubt this will be the last time you hear about VOLA from Pyramid Noise. 

Steve Lawson – Believe In Peace


This live recording of Solo Bassist Steve Lawson is beautiful. It is not, as you might expect from a solo Bass musician, an exercise is slapping techniques or trying really hard to get you to take Bass as a “real” instrument. Instead Believe In Peace is an in-situ recording of a performance at an art exhibit focused around the Chinese I Ching texts on Wisdom. As part of this multi-media event Lawson decided to do something more than his standard set and Believe In Peace was this result. This is a 4 track release, clocking in at about 48 minutes of fantastic ambience all created on a Bass Guitar. Percussion, backing drones, melodies and more are all created on this single instrument with a copious amount of pedals. 

This isn’t just one note ambience though, Laweson doesn’t rest on his laurels and allow the art present to make up for any inadequacies in his own performance, I admit however, that the art combined with this music must have been something rather special. Believe In Peace sees drone, darker ambient tones, melodious highly textured pieces, minimalistic soundscapes and other facets of ambient than I am unable to name, brought together to create an incredibly meditative release, as suits the subject of the album. Sometimes it even bursts out into a blissed out distorted lead solo, but that does little to break from the chilled out, psychedelic jam-band quality of this release. 

The fact that this album was played live adds something to it. In an age where it is more common to make ambient in a cold digital space, the incredibly human and warm feeling that Steve Lawson offers here is a great departure from contemporary ambient artists. While the bass guitar is run through a mass of different pedals, it never loses itself and you’re constantly aware that this is human music, based in spirutality and care over craft. It is safe to say, prior to veering off into a spiritualist ramble, that Believe In Peace is an album best experienced with eyes closed and mind open. 


Interested in having your band featured on this weekly article? E-mail us at pyramidnoise@gmail.com with the subject line "Free Music Monday" with links to your Bandcamp page.