The Faceless - Planetary Duality

The Faceless - Planetary Duality

An experience unfamiliar and unique has a tendency to either alienate or enchant the subject. A first impression of The Faceless may speak of an ordinary technical metal band, but as you venture further into the music you discover depth to uncover. Untypical composition choices weave a garment that intricately expresses technicality, brutality and musicality at the same time.
And it mirrors the lyrical themes of mystical beings, connected with historical events such as the arrival of the messiah in the form of an extra-terrestrial. A battle for control of earth, and the deception of beings trapped in a state of unknowing, not able to transcend the third dimension.
It's not a clear narrative but that strengthens the mystical aura which permeates this album, with everything from the colorful and abstract cover, to the use of eerie soundscapes.

There's not a single weak track on the entire album. Each song is brimming with hard-hitting skin-tight drums coupled together with colorful guitar-work. When the songs are brutal, they express it whole-heartily with razor-sharp conviction. Yet, when mellow softness surfaces it's in the form mixed flavours. Clean vocals a surprising piano melody and organs to make for a pleasant change of pace from the furious riffing. A delicate use of odd timings, breakdowns and tempo-changes offers a frantic roller-coaster, keeping your ears attention firmly occupied.
The Faceless strong impression is made up of a combination between technical flare and a explicit ability to balance ruthlessness with intricacy, and making grand theatrical landscapes with the arrangements. In one instant tunes are reminiscent of classical music, and at the next turn it rushes headlong into jazzy territory. It's a sort of balanced chaos that at times juggles 4/4, 3/4 and 7/4 measures in the same theme.

The mystical introduction to the double title-track of the album, is used to great effect. It's a recording from a radio show where a caller has a very urgent message. He claims to be an ex-employee of the area 51 and speaks of a conspiracy where extra-dimensional beings have taken over the military. Supposedly the radio-session was abruptly hindered by a strange power-outage. Regardless of it’s validity it sets a suggestive and atmospheric backdrop. The album finale blends all the greatest aspects of the faceless and is a really impactful and emotional ending stretch.

The greatness of this release does not lie in it's individual parts, but when viewed as a whole. This makes it by far my most cherished album by the Faceless so far. It’s consistent quality and vivid imagery gives a long-lasting impression that remains interesting even after several listens.

Anamanaguchi - Power Supply

This is not a metal-album, and so far that’s what this blog has been about. Yet, my taste in music ranges from the extreme and odd, to the odd and the extreme. Anamanaguchi is a trio from New-york specialising in making pop-music, but with a twist, and i’m not talking about dressing up as an alien or wearing a meat-suit. This is bit-pop with a serious attitude.

Everyone who grew up during the ninetees know about the barrage of new things that came into being during those years. The video-game industry had exploded straight into millions of kids living-rooms, hip-hop was raging forth and undermining hard-rock culture. boy-bands polluted the air with their streamlined ”open up and swallow” clichés and mobile phones started becoming practical not to mention the silent quakings of the juggernaut called the internet. A new cyber-culture was emerging, and me being the little kid thinking video-games were the best things a boy could own, I fell in love, not only with the challenging and fun gameplay, but also with the music that came with it.

Although the band has said their main influence comes from pop-rock, the music itself is nostalgia inducing. The sounds generated by the hacked old NES and Gameboy consoles, plunges you head-deep into memory-lane. Additionally song-names such as ”Airbase" and ”Video Challenge" feel familiar, even though they aren’t clear references. The hyper-melodic songs capture that magic from your childhood, while still feeling fresh new and interesting. It doesn’t just remind you of the hours spent in front of the TV with a controller in hand, but also of the sense of adventure you felt while exploring your local non-videogame forest, the first time you attempted that kick-flip on a skateboard or attempted to kiss that special girl on the way home from school.

The music is strictly instrumental, but vocals wouldn’t fit and you don’t miss them. The old NES and Gameboy sound-chips handle the melodies with accompaniment from real-guitars and drums. The production feels solid and packs a real punch even though it’s purposefully been made to sound lo-fi. All albums from Anamanaguchi are worth checking out aside from Power Supply. Especially noticable is perhaps the soundtrack for video-game Scott Pilgrim vs the World based on ”” s comics released for the xbox 360 and PS3 featuring retro-graphics. I somewhat prefer Power Supply because its songs are made from the ground up to have a beginning and an end, apart from classical video-game music that usually is written so it can be looped infinitely.

I’ve used the songs as an alarm clock on my mobile phone, and that is perhaps the quickest way to kill a song and make you instantly sick of it. Unless you’re some kind of freak who enjoys being awoken in the morning. In this case however that never ever happened, each wake-up call felt like being greeted by a gentle friend. The melodies provided are not stock pop-melodies whose sole purpose is to stick, it’s complex and well-written music. 

The pop-culture from late 80’s to early-mid 90’s has shown to have lasting value and Anamanaguchi is a standing example of that.

And even though you weren’t a garage-goblin as a kid who played video-games all day, like myself, this music is still worth checking out.

Ayreon - Into The Electric Castle

A musical journey so magical, intricate and technical can't be anything but impressive. I can't imagine anyone moderately interested in music as an art form not being impressed at all by this master-piece. Set in a magical sci-fi fantasy setting where a terrestrial being conducts an experiment where humans from different ages are strung together on a journey through things never imagined by man. An assorted crew of vocalists lend their personalities to portray the operas different characters as they deal with their experiences.  A majestic homage to old b-movies and artists of the 70's such as Jethro Tull, Led Zeppelin and Pink Floyid it delivers a modern journey back to times where music was made in the heat of cultural movements. It's a wonderful counter-culture aspect which stirs my soul. Having been only born in the very late 80's I have experienced the old era through my parents. But thanks Ayreon this timeless music has been packaged for a more modern audience.

The introduction with Isis and Osiris is arguable the strongest track of the entire double CD album, with ever dazzling swells of harmony between all sorts of instruments coupled with narrative. The most noteworthy additions being instruments like the indish sitar and the mandolin being intertwined with modern guitars and  organs. And in the break the song is elevated into the stars with one of the worlds greatest synth-solos. At first it does feel a bit like a let down when the following tracks don't have that same bombastic structure. Even so the third track Amazing Flight easily keeps the standard high, but after that the general pace slows down a little. But to say that the quality of the arrangements diminish is simply not true, apart from perhaps Tunnel of Light which is arguably the CD's only obviously weak song.
But with magical tunes like Time Beyond Time and hard rock anthems such as Across the Rainbow Bridge you should definitely not be put down by the occasional transport song. Admittedly the second CD has less stellar arrangements but if you let it sink in, it's a wonderful journey towards the mystical and grand conclusion of the story.

Though there are great standalone songs, in my opinion this album is best experienced if you dedicate it a full sitting  (like all concept albums). Which is of course a daunting thing as the epic clocks in at 1 hour and 44 minutes. I admit i didn't do it on my first listen, and I don't expect anyone keeping their interest for that long. But for those who do, they'll be rewarded with colorful and beautiful imagery rare in the record industry. And this being a commercial success ultimately must at some rate verify that there are those who agree with this sentiment. This album is the fruit of the passion and hard work of Arjen A Lucassen's fueled by his love for the theatrical and it will remain one of the most thrilling musical experiences in my life.
Atleast check out the first track Isis and Osiris, since I feel it really is a one of a kind, if not then please refer me to more music like it.

Devin Townsend - Ziltoid the Omniscient

Devin Townsend is a name I knew about, but hadn't quite become acquainted with. My dear friends Robin and Emil asked if I wanted to come and see the show in stockholm. When I declined I had really no idea what I was passing up. There's a certain risk to upset Strapping Young Lad fans when declaring your favourite Devin album is this space opera dedicated to the passionate admiration of all things nerdy. The story is clear enough for you to be able to follow the story on your first listen. The humour is definately a hit or miss, but for me it works excellently. Still, the main attraction is very thoughtfull dramatic sequences of lyrics and dialouge between the characters. As the font on the album cover suggests it's definately a wink at old space adventure movies and series like Flash Gordon.

It's a solo-album and it definately sounds like it. There really isn't an actual band behind the songs and it's quite obvious. Although the songwriting, guitars and vocals definately make up for the mechanical production and general sterile sound.
I listened to this album over and over again while playing MineCraft. Colorful and diverse albums such as these work for sand-box types of games. It helps stimulate your  imagination. The main anti-hero, self-proclaimed all-knowing Ziltoid's journey to wreak mayhem on the universe by demanding perfect cups of coffee from unsuspecting planets always brings a big smile to my face, heck even a chuckle. Even though he's on the cover of the album, there are plenty of other colorful cliche characters there for you to tickle your senses. Questions about the meaning of existance and ballads about cold solar winds sets the stage for an epic journey through the imagination.

My anticipation for the follow-up (named Z2) to this perhaps underappreciated gem is high. It's  is slated for a 2013 release. I can't wait for the second serving of this wonderful cup of black coffee.

Grooveshark link:
Devin Townsend - Ziltoid the Omniscient

Fleshgod Apocalypse - Agony

Humans are built in a way that makes listening to sounds arranged in certain ways enjoyable or unpleasent. We are susceptible to the effects of noise just like other animals, it stirs feelings inside of us causing us to react. The evolutionary reasons for these phenomenon are obvious, sounds are possible indicators of danger. Be it a predator a falling tree or a landslide.
Curiously human beings have extended these conjured emotions into the social function of belonging and recreation. We feel connectedness when hearing a certain chord progression. To us it's no longer simply sound, but something that stirs our very inner being. The rhythm of a drum makes us move our bodies in unison and harmony joined by melody can summon the most profound inner agony and joy. This album stirs up strong emotions in me, feelings that can be summed up by it's title.

Fleshgod Apocalypse's previous releases have impressed greatly. With their furious technicality, speed and brutality, yet attention to harmony, they explored new vistas in the genre. Then along came this release and it arguably takes the sound a large step further. This is a plethora of fully orchestral symphonies intertwined with classical (pun intended) technical death metal. Each time I listen to it the intro track makes me almost burst with anticipation for the rest of the album. The effectiveness of the pulsating crescendo gives the impression of a piece written by haunted composers in pain.
Operatic vocals linger and swell in the background and horns and trumpets rumble. The opening flows elegantly into the first song and the drums blast beats mercilessly enter the soundscape. This is the sound of impending disaster and if you aren't used to extreme music it is likely to scare you away. Much like the deer hearing the breaking of a twig in the bushes or the howling of a wolf in the distance. To some people, this despair-like sensation is most pleasurable.

Each piece is excellently executed with a good balance between the orchestral sounds and frantic trill riffs. Growl, scream and tenor voices play tag constantly and it creates a dynamic sound with many nuances. Guitar solos come in bursts and are competent and original enough to not feel tacked on. Many of the songs transfer seamlessly between the track changes creating a powerful sense of immersion. The classical composing ground is evident, and is used masterfully throughout the whole album. It's like a beast that is most alive and breathing, invoking a mixed sensation of beauty and horror into the listener. One can argue that this kind of music has been made before with acts such as Dimmu Borgir, but this album holds a very special place in my heart.
Many fans' criticism of this album is that it has taken a turn towards mainstream. To me, it's more of a bold step in a new direction that has been sparsely taken before.

To quote the local record company ninetone records : "If you walk in another mans footsteps you're never going to arrive first."

Spotify link:
Fleshgod Apocalypse - Agony

Opeth - Ghost Reveries

In every bands career there seems to be a moment where everything justs falls together and "the magic happens". This creation is definitely the result of the maturity, experience and passion accumulated over the years by this progressive death metal band from Sweden. Earlier iterations have had the elements that makes Opeth the widespread success it has become today. But this dark moody story of the occult paints an musical atmosphere truly unique. Michael Åkerfeldts deep growls and singer song-writer inspired soft as silk singing weaves a vivid imagery of calamity alternated with calm wonder.

With all except one of the tracks spanning over 5 minutes and four over 10 each song is like a chapter of a book. The opening track Ghost of Perdition drops you straight into a relentless drama of death-metal transferring straight into clean acoustic arrangements. Where some may see it as a counter-intuitive element to metal it really is well executed here and is a recurring theme throughout. Clever usage of Hammond-organs, strings and other ambient pads softens the furious guitars and makes for a vibrant sound.
Grand arrangements are greatly strengthened by craftily adding and subtracting to the mix of instruments. It grants the songs that feeling of grand suspense followed by a satisfying climaxes.

It's brutal and it's edgy. Not until the 4th track Atonement are you given room to breath. Bongos are evenly distributed throughout the album but are most noticeable here. The grand finale and as of my opinion the magnum opus track of Opeth is the Grand Conjuration. With it's endless in your face drumming and simplistic epic structure it serves as an excellent finale to a very exceptional production of heavy music. It offers a simple but powerful imagery.

It's Opeth at it's finest, and it's one hell of a ride!

Spotify link:
Opeth – Ghost Reveries

Scar Symmetry - Holographic Universe

The ammount of inspiration and pleasure I have derived from this album is not easily described. Scar Symmetry has bluntly made it clear right from their debut in 2005 that emotional contrast is powerful. By shamelessly mixing death-metal grunts and silky-smooth vocals with clever songwriting and pure technical skill every song becomes like an adventure.
This 2008 release is arguably their best effort, as the last album with their original and prolific vocalist. I am a firm believer in progressive music and it's bold breaking of boundaries. I argue this master-piece is the pinnacle joining different metal and hard-rock disciplines.

I spent one winter working with surveying large piles of gravel. It was lonesome work. Just me, the company car and the equipment. With my mobile-phones mp3-player jacked up into the cars capable stereo-system and these melodies flowing into my ears, I drove in between sites with a most serene mind. Listening to music this involving, catchy and soul-capturing while driving should probably be dis-advised. Although it surely did make my days less mentally exhausting.
The range of skill in the vocals showcased never seizes to amaze. Be it a mellow verse, frantic upbeat growling or a powerful chorus with falsetto harmonies, Christian delivers. Instrumental all beats and tempos are mechanically tight. It's clear; these fellows know how to use a studio environment. This may in fact be Scar Symmetry's only unquestionable down-side, everything is played flawlessly.

The mechanical style goes well with the themes of dreamy space worlds the lyrics paint. Stories about illusionary elements enveloped in mystical scientific terminology fits the tone the music set exquisitely. The topic of a transcended consciousness has a tendency to tickle an open minds imagination. And being a sucker for scientific curiosity and especially astronomy coupled with philosophy, I can't help but throw out superlative adjectives around this album. The words by themselves don't look like much, but synthesized with the orchestral arrangements the sentences come alive.

Hopefully I have stirred some curiosity. Go explore this extraordinary well-crafted metal album. I hope you see, at least partly, what entices me so about it.

Grooveshark link:
Scar Symmetry - Holographic Universe
Spotify link:
Scar Symmetry - Holographic Universe