Just when I thought I might not have anything post-worthy today, I decided to spin this recommendation that has been sitting in my cue for a few days. Somewhere, in an odd niche between Ulcerate's ominous tech death and Behemoth's riff-heavy blackened death, lives this album. It's a nice marriage of the two, managing to enjoy the best qualities of each. Throes sport some impressive musicianship without being impenetrable. Just listen to those guitars and drums. No seriously, go listen. Very cheap on bandcamp as an added plus.
Another group that is not exactly unknown, but this being a solid release and their first in 10 years...
Arcturus is a group from Norway that
dropped its first LP in 1995...roughly 19 years before I even got
around to listening to a single one. While this is sad on my part,
it is worth noting that they have not released anything since 2005's
Sideshow Symphonies. Despite not being a long time fan, Arcturian
fills me with a sense of nostalgia. I get the same feeling from this
album that I did listening to my first Dark Tranquillity CD's in high
school. This may be in part due to the contributions from ICS
Vortex, a musician I have respected since my formative metal years
listening to Dimmu Borgir. While musicianship is a good indicator of
an album's quality, it is often these elusive, qualitative aspects
that will stand the test of time.
Even so, this is certainly not to say
that Arcturus is lacking in the songwriting department. To the
contrary, the many elements at play are quite remarkable. The
plentiful string arrangements throughout deserve particular
attention. Tracks like “Angst” and “Pale” showcase a level
of pomp that is dark and foreboding without a hint of cliche.
Similarly, the subtle synth and electronic elements take songs to new
heights of atmosphere and appeal as with “The Arcturian Sign,”
“The Journey,” and “Warp.”
While the guitars and drums often do
little more than help fill out the sound and create a heavier
aesthetic, they too have the occasional spotlight moment. “Game
Over” features a fittingly classy solo while “Crashland” and
the opening track have their share of thunderous double bass, tom
fills, and snare rolls. But the real accolades here go to Mr.
Vortex. I have often said that this man is possibly the most
talented vocalist in metal today, and his work here with Arcturus is
no less impressive than classic contributions to Death Cult
Armageddon or Borknagar's The Archaic Course. His voice is operatic
in its sheer power and command of melody without ever becoming
gimmicky. And while there are not many harsh vocals to be found in
Arcturian, Vortex's presence is no less imposing.
Alas, similar to Sigh's Graveward, the
only major problem I have with Arcturian as an album is that the
production feels rather flat in comparison to its lively
compositions. The more “classical” moments (i.e. the first half
of “Bane”) really pop, but it seems like things go wrong whenever
the guitars gain prominence. Crunchy distortion seems to bulldoze
peaks and valleys into a uniform plain that lacks grandiosity. The
drums feel particularly lackluster in these times, but I think that
the most egregious crime is that the stunning vocal performance is
not given the depth it deserves. With all of the posh ambiance, I
crave a sound that feels more nuanced and vital.
Fortunately, the clear passion and
professionalism exuding from the very pores of this LP are more than
enough to forgive issues in the studio. Advertised as “The new
magnum opus from Arcturus,” Arcturian is the rare comeback album
that delivers on its promise. Between the tasteful classical
elements and perhaps best vocal performance so far of 2015, one would
be foolish to pass on at least a few spins of this accomplished piece
of art. Coming May 8th, don't be one of those fools.
Hey folks! I'm once again a free man (for the time being) now that my dreaded exams have come to an end. If all things go according to plan, I will be able to write a little more frequently.
Without further ado, I bring you Karst. It's quite the feat to release an album itself but one that is self-released, and in cassette format can often be a risk most bands aren't willing to take. This risk however has definitely paid off for the likes of Karst. With their unique mixture of Black Metal, Garage Rock like influences and Progressive undertones they create a refreshing sound that piques your interest. They pull the style off with seemingly ease where other bands may find difficulty in mixing the jazzy interludes and other interesting influences. If you're all about the groovy, unconventional Black Metal, and lyrics sung in a different language this may be right up your alley.
Celebrating an underrated classic today. This album is a 10 in every sense. It's innovative, it's an amazing piece of musicianship, and most importantly; it's a blast. I recommend you listen to the full playlist on youtube rather than simply listening to a track, but two of my favorites are below if you feel so inclined. Delightful fusion of so many styles that wouldn't seem to work, but do. Yes, it's a foundation of mathcore, but it transcends into a fairly progressive, and wholly impressive, amalgamation. Sadly, this was the group's swan song. I had the pleasure of seeing them twice touring with this album, once with Dillinger Escape Plan. They were just as good, if not better live.
For those wondering if us reviewers actually put our money where our mouths are, consider this exhibit A. In addition to the many digital bandcamp purchases I have made recently to support growing bands, I do still partake in some physical purchases. Despite both Wovoka and Frosthelm gracing me with free digital promos, I loved the music and artwork so much that I wanted them to join the pantheon on my shelf. Frosthelm even went the extra mile with a sticker, patch, and guitar pick. Support your local artists!
Time for a little technical grindcore to break up the action. I see The Crinn as Calculating Infinity-era Dillinger Escape Plan mixed with some Converge and put on fast-forward. The musicianship is pretty jaw-dropping, albeit occasionally at the sacrifice of solid hooks and compositions. But I think the point of this is mainly just to drag you to the floor and beat you to death with calculators in various time signatures. Fun stuff.
