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Hooray! I love artistic excess!
Though I've been a fan of Binary Mind's techno/industrial already, it's great to see the artist branching out, collaborating with artists of different genres and making music with new flavours. Bloody Mary does a fantastic job at doing this.
Consistency comes in pairs on this album. The first two tracks juxtapose wonderful folk with some slow, powerful techno. They're short, but excellent.
The next two are long. A Million of Years is a nice long ambient piece... until a beat powerful enough to shake the rain kicks in halfway through the song. The strength continues through the title track. Awkward & Math-y, a rather bewildering listen at first (though it seems to drag on a bit and lose its energy).
The final two tracks: first an ambient piece that leads up to the abnormally-peppy final track, completely inconsistent with the all the previous songs. It doesn't "flow" very well, but it's a nice way to end an album that was pumping with energy for the previous 35 minutes - I chuckled from the awkward transition.
Personally, it's my favourite Binary Mind release... A departure from what was done previously, but that's a good thing in my eyes.
What is this? Why is this music so relatively coherent?
Occasional melodic singing? Hell, occasional melody in general! The Chadderandom Abyss used to be the perfect mesh of noisy electronicy stuff and freaky folky stuff. Now its pattern is more plaid-like.
How dare you try and make these sounds slightly more accessible for the greater public - a deplorable grasp for greater radio airtime and popularity, I say!
Otherwise, it's pretty good. Highly recommended.
There's alot going on with this album. arcaide opted to throw a bunch of ideas together in a bag, shaking vigorously, to make something that's largely a beat-laden ambient/industrial experience, but draws from many realms of electronic music.
Granted, it's not something that hasn't been done before, but arcaide just does it so well that it's impossible not to recommend! Beats whirl in and out of each song, providing structure to the noise. Occasionally harsh, occasionally calming, occasionally coherent, Opus Mort succeeds in grabbing one's attention and keeping it there.
One thing to also point out is not just the quality of the music, but the sound as well. Though I do listen to a few artists on Jamendo who make great music with little resources, arcaide has put out a VERY well mixed & produced release. The layers on each song jump out, each sound crisp, every beat thunderous...
I like it.
I recall downloading this album a month ago, mostly because I got a chuckle from the track "What Are Worms?". Yet as I listened more and more, these songs grew to consume more and more space on my playlist. Frankly, I do not know why I like this music so much.
Regardless, most of the songs follow a similar structure - a catchy beat, a really creepy & obscure monologue, and multiple layers of sounds caking each track.
Every time I listen to this album I always seem to pick up on something new... something I missed before on earlier listens that, all in all, really add to the depth of the album. It's not the most complex music ever made, but I do manage to think along with the tempo.
But what I can say is that a good deal of thought and care seems to have been put in the creation of these tracks, and there's just enough here to keep one occupied for a while (until you dig into the rest of the discography).
The strangest thing about this album... The music is eerily normal much of the time, structurally speaking. It's a country/folk album at its heart, except everything is done with such a perfection that is just so perverted and wrong. It is pop music pulled inside out, cut up, chewed, spit out, and reshaped into something that loosely resembles what it used to look like.
Kudos for utterly destroying a classic genre. You are the shattered mirror of Dylan.
A zero for people who like music.
A ten for people who hate music.
So you'll get the average of the two.
I can only assume that the first two tracks were meant to scare people away. Mechanical Insect Attack is just an explosion of mathematically laden beats with no certain BPM - it's something that could make the Venetian Snares proud. The next track continues with a morass of percussion that gradually developes into something you could actually bob your head to.
From then on, the album continues at a surprisingly slow, somber pace that just seems to fade further and further into a bleak quietude. This is not to say that the album loses steam and gets boring - it remains a rather engaging listen throughout, just in a different way.
If you demand your more experimental music to be harsh and confounding, then you should definately give the album a try. If you prefer more slower, darker electronics, then maybe you should skip the first couple of tracks in the beginning (though I don't recommend it, 'cause I think those tracks are awesome!). Give yourself a treat and give it a listen.
This is a very messy album; everything just seems... off... a little. There seems to be little regard for a normal tempo, the music is very harsh and noisy, the vocals are quite strained and grainy at times, and the lyrics range from (what I assume to be... my portuguese is lacking (i.e. nonexistent)) political rantings to complete nonsense.
But I'm pretty sure that's part of the whole point of the album... another big "fuck you" to conformity, which is always good, especially as more mainstream music seems to get more and more plasticy and fake.
This is a highly recommendable album for anybody who enjoys some fast, angry, noisy punk. Unfortunately, this music is not for everybody. Though this album is slightly less harsh than the other one (under the band name Focolitus) since there are quite a bit more softer parts put in between the noise, it's still quite strong on the ears to people who aren't used to unrefined stuff. Nonetheless, this album carries the pure do-it-yourself rage that was punk.
As someone who probably listens to more death metal than electronic music, the description made this album seem like an odd mesh of the two - this piqued my interest.
I streamed the first track and it absolutely blew me away. There was so much energy packed into it - momentum, power, and a good (maybe a bit too distorted) growl. It was like when I listened to the beginning of Obituary's "Slowly We Rot" all over again - I was really feeling it, and I just couldn't wait to listen to the second track.
Well... it sounded quite a bit like the first one. The same beat, similar structure, familar textures... but it still had alot of energy.
Then the third track hit. Same drum beat (which is a tad bit too high in the mix). Same tempo. Same sounds. Turns out the whole album pretty much seems like one long song with nine little breaks in between. There are a few tracks which are somewhat different (over da wall or the outro), but these are marginal differences at best. The lack of variety hurts this album alot.
Which is a real shame. There are many excellent aspects that I can point to. It's got a very distinct style (as far as I know) that I really dig and I still do like this album... but it's hard to really recommend the whole thing. I hope Life.Renegade.'s other efforts are a bit more daring, because I'll be sure to listen.
Truly, if there were a soundtrack for the words "Iron, Steel, and Epic," NanowaR would make up at least a third of that album.
Boldness is the key here. Not willing to merely touch upon all the usual cliches of this over-the-top metal-smackdown... NanowaR truly take these concepts to the next level and toss in a few new concepts that will surely rock the iron foundation of heavy metal. Tricycles? The number of the bitch? Truly pioneers of our time!
I docked it a point for its distinct lack of Odin references in the lyrics. But otherwise, this is true, pure, epic, unabashed, bombastic, powerful, straight-up Iron, Steel, and Tungsten!
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