Amplifier - The Octopus (2011)

"And once you hold my hand I'll never let you go..."

The beginning is important in all things
Of all places, I discovered this band through iTunes. They recommended them to me, probably one of the few times they got it right. I hit play on their self-titled debut and instantly dropped everything I was doing to bask in its glory. From the opening distorted guitar and voice of Sel Balamir (guitarist and vocals) I was hooked. Sitting alone in my room at my recently rented and therefore recently moved in to house, in the dark of night, finally getting a moment to myself, the three men and their instruments transformed my mind (the other two being Neil Mahony on bass and Matt Brobin on drums). I essentially played that album on repeat for a few months whenever I could, like a drug. This was back in 2008, and while thankfully I was able to explore their back catalogue, I had not witnessed the release of a new full length Amplifier album. Until 2011.

The action of conversion between the intangible and tangible is the process of entropy
I don't remember when exactly, or how, but I remember the autumn of 2010 as filled with a huge amount of hype and excitement when I heard that the new Amplifier album, The Octopus, was to be released at the beginning of 2011 and that lo and behold, preorders were up soon! (I had already heard, for a while now, rumblings that something was to come from the Amp boys). Rabidly snatching up my special edition 2CD, beautifully bound booklet, signed by the band, and for the most reasonable price I'd ever seen, now all I had to do was bear the wait. Completely self-released by the band from the notes played to it arriving in my hands, I had nothing but admiration for Amplifier. With my already thorough enjoyment of their music, and now getting to hear their newest creation: a 2 hour long album. Each disc containing 8 songs (Octopus, get it? Do you? Really? You sure?) Needless to say my hopes were high. So when my copy arrived in January, armed with my speakers at maximum output and a bottle of wine, I was ready to embark on the journey for myself.

Music only exists within the mind of a listener - it is a type of controlled hallucination
It starts off so noiselessly that you barely know it's playing. The sound of opening track 'The Runner' builds and fades until it comes to a close and you're waiting (im)patiently when once again that guitar sound is ripping through you with 'Minion's Song'. This track is an anthem of sorts to triumphantly begin the first disc properly. The disc continues on a similar note with 'The Wave', the first single from the album. Beginning with a singular bell clang, then distortion, then psychedelically heavy instrumentation, and soon Sel's semi-distorted voice cuts through: "Ladies and gentlemen Please step right up For the end of the world". You know you're about to take a ride with this track. Closing out the first disc is the epic, and with an incredibly awesome title (which, let's be honest, always makes me interested to hear a song), 'Trading Dark Matter on the Stock Exchange'. However I have to say given its title, I wasn't in love at first. This track, coming in at 11 and a half minutes, is pretty long for Amplifier standards, and is indeed the longest track on the album. It took me a lot of listens before I came to love it. Whereas at first I found it a little tedious and thought it could be shorter, preferring to move on to the more gratifying tracks. I have now come to appreciate its complexity. Therein lies part of the beauty of The Octopus: by dusting off the places you didn't think you'd care about, you can find something truly great that you may have overlooked.

Disc 2 begins with 'The Sick Rose', a recitation of a William Blake poem sung by Balamir and set to music. This disc continues on in a similar vein to the first, with similar lyrical themes ranging from general dissatisfaction with society as a whole to a more hopeful look towards our own, personal futures of triumph. Not to say that this disc should be overlooked, or be considered a companion to the first. It is just as packed with incredible music for the listener to dive right into. I would in fact, have trouble saying which disc I like better, they both bring something great to the table. In this case, they are less two sides of the same coin, as I do not consider them opposites. They are much closer than that. They are more akin to twins: same genetic code but slightly different life experiences. Finally rounding out the album is 'Forever and More', and while this isn't my favourite track, it works well as a closer. It has a kind of epic, triumphant end to The Octopus that leaves you satisfied, perhaps the kind of satisfaction you feel after finishing a big, delicious meal.

Music is by its nature irrational
In general, it can be a lot to digest with two full hours of music as well as no song under 5 minutes (save the opening prelude). While I was excited to hear it, I thought I might not be able to take it all in in one sitting. I was wrong. This album engrossed me so much that it just flies by with each listen. It is a lot to hear, certainly, but each listen brings a new favourite part or a new favourite song. The first listen is definitely rewarding, but since there is just so much music on The Octopus, you are unable to take it all in the first time. This was a massive undertaking for so many reasons, but Amplifier pulled it off so smoothly and powerfully, it's hard not to be in awe of the mighty Octopus.

Of the infinite endings there is only one ending which is absolutely correct

Love of this album may not come easily to everyone. Though that is another thing that makes it so rewarding. It gives the listener the distinct feeling of "here is something great", but you realize that you need to put in some work too. That to me, is what The Octopus embodies. It manages to be understated at points and in your face at others, but it is the pieces of the entirety that form the whole. The experience of listening to The Octopus is what gives it its true life outside the speakers.

First, sorry this is so long, it had to be when it's such a massive album.
Second, all the information you need can be found here (or somewhere close by), so go and see what I'm talking about.

Third...
As you've likely noticed, I used the word "triumphant" a lot in this review. That's because to me, it's the best way to describe how parts of the album feel and sound. By completely self-releasing the whole thing and engineering everything from the creation to the distribution to their tours, you feel like the band is saying a big "fuck you very much" to all those major labels which use and abuse bands to turn a profit. I really can't stress enough what an amazing thing it is for these guys to do. Having had contact with Sel through e-mail and the Amplifier forum, it's clear how much time and effort went into this thing. I truly have nothing but thanks, praise, and admiration for all involved. It's an amazing feat and wonderful that they can share their music with us, the fans. As well as being so available and open to those same fans. It is also important to note that you will see The Octopus on several "Best of 2011" lists, likely they are one of the only ones on there not backed by a label. 

††† - EP † (2011)

"I know what this really is..."

††† or Crosses, is Deftones frontman Chino Moreno and Far guitarist Shaun Lopez, as well as Scott Chuck. I came across this free EP download by shear luck and naturally decided to check it out due to being a Deftones fan. This is the first EP of a series (apparently), with the next one coming on January 24th. This is a good thing as this one certainly leaves me wanting more.

Coming in at only 18 and a half minutes, it is obviously of EP status. I think it can best be described as a mixture of 'With Teeth' era Nine Inch Nails with recent 'Diamond Eyes' era Deftones. The combination works well, giving Crosses a more electronic sound (compared to the Deftones) overlaid with Moreno's distinctive voice.

I've always found that Chino Moreno's vocals have an air of sexuality in them. I can't put my finger on why exactly, but it's something in the tone and the way he sings. To me, this comes out in full force on this first Crosses EP. He isn't even singing about sex, at least not overtly or as far as I can tell, but it's the mood he manages to create as he breathes the words into the microphone. Moreno lets the listener embrace the forbidden and unknown on each track.

I would sum this up to a Deftones fan as "a more electronic version of the Deftones", but it also has a life of its own. Short and sweet, this EP is great to rock or chill out to. It may not be deeply intellectual, however it possesses the ability to grab the listener by the hand and take them on a tripped out journey to a world not far from here.

Have a Nice Life - Deathconsciousness (2008)

"I've got a message that I must relay..."

Discovered this through former vocalist/guitarist of Isis (among other things), Aaron Turner, (bonus pic!) and what a fucking great find is all I can say. Have a Nice Life is composed of Dan and Tim from Connecticut, well I don't know that they are actually from there but that is where Have a Nice Life is located. Deathconsciousness is their incredibly profound, vast, double disc album. The discs are labelled 'The Plow That Broke the Plains' and 'The Future', respectively.

Deathconsciousness covers a lot of ground on their debut album: noise, metal, ambient, doom, pop, shoegaze. It lacks genre because it traverses so many, and it is everything all at once. It is sometimes heavy and sometimes 'poppy' (I use this term loosely). In general it is crushing, depressive, and haunting. It all adds up to one thing: a beautifully gloomy album.

The lyrics are based around religion and death. The allusions to death are much more obvious, while the religious aspects are harder to find. For once, the lyrics weren't so important to me listening to this album. Although a closer look reveals the lyrics are indeed worthy of praise, I really only noticed them secondarily. It is much more the way the vocals fit with the music. The way they traverse the haunting soundscapes, or not, is what is most noticeably profound.

This was also a strange album for me in that I loved it instantly, but it took a lot of listening for me to truly appreciate it. It, for me, is both of these things at the same time as well: instantaneously enjoyable but with each listen bringing something new and enthralling to discover.

As we've heard before, "writing about music is like dancing about architecture", and Have a Nice Life definitely follows this mantra. With their own sound that takes influences but makes its own rules, it's nearly impossible to find a comparison, or even a starting point to describe what goes on in the sonic space that is Deathconsciousness.

Fever Ray - Fever Ray (2009)

"If I had a voice I would sing"

I discovered Fever Ray through The Knife, which I previously discovered through this awesome individual. Fever Ray is the solo project of Karin Dreijer Andersson, half of the brother-sister duo that is The Knife. Based in Sweden, the sound almost conjures what one would think of as distinctly 'Scandinavian'. I don't know which one more so, The Knife or Fever Ray. However, since this is a Fever Ray review, onward we go with Andersson's solo work.

Although I just talked about The Knife, this is not by any means a new Knife album. While it's hard to avoid the similarities, both electronic, and both featuring Andersson on vocals, they are not one in the same. Fever Ray's music seems more sparse and organic and altogether less urgent. Her lyrics also seem to be a touch more personal. Though as in The Knife, just as cryptic. You think you maybe kind of sort of know what the song is about, but in the end you probably don't. As with her work with her brother, she obscures her face behind face paint or masks. "I think the music should be able to stand for itself without interfering..." she says.

The music of this album is difficult to describe. Sometimes with heavy beats and sometimes with light pings, the listener can feel like they are in a dark room with Andersson in one track and then wandering through a snow covered forest the next. Unsure of where each song will lead you: To a wide open field or to an intimate meeting between long lost friends? This album frequently brings to mind an image: a place, a person, a certain setting, a memory. There is darkness here in the music, I picture a dense forest covered in snow just around dusk. There's a depression, but a hope as well. It will make you feel empty but at the same time feel a singular determination.

It's hard not to be vague when describing the self-titled album of Fever Ray. She is able to enhance a certain mood with her voice along with the electronic music. Therefore this album can be considered a personal journey, both for the listener and for Andersson. For me, this wasn't just a way to tide myself over until the release of a new Knife album, but a journey off the beaten path with Andersson as guide. A guide that doesn't talk or explain, but rather sings in her entrancing voice that I can't seem to get enough of.

I could tell you what I'm thinking While we sit here drinking But I'm not sure where to start...

"Come here close and then I’ll bring you under and we’ll burn Yeah I’ll drag you under"

I'd like to share why I'm doing this and what this is all about (or: My Slightly Pretentious, Self-Serving, Incoherent Rant).

I'm interested in music, not playing it mind you, because people would run for cover and/or gauge out their ears if I tried (ask anyone, I am tone deaf with no sense of rhythm). But I do love listening to it and reading about it. I'm practically always listening, and I'm also always looking for something new to enjoy. I no longer have criteria about what that is, to me it's good as long as I like it. I have also long ago given up arguing with people about what is "good" or "bad" music, it's all a matter of taste and I intend to leave it at that. I also enjoy writing, so writing about music that I love and that I actually have something to say about seems like a fun pastime. Thus, after many attempts in the past to keep a blog, 'follow me into oblivion' was born. I am happy with how it's going so far so it will likely stay this way, however who knows how I will feel in the future.

Simply, this blog will feature my reviews (read: opinions) of albums old and new that I love and have something to write about. My hope is that someone reads them and maybe listens to the music I am writing about. And if you find something to love in it, then all the better. However, my only goal is to write and enjoy writing the reviews. They won't be coming to the blog in any sort of order, with any sort of regularity, and it's likely that some of my personality will come through in my writing. There are no doubt thousands of music review blogs about, some better than others, some in a professional setting and some not. I'm not looking for recognition, I'm just looking for an outlet for my love of music. That being said, I'd be lying if I said I don't care if anyone reads them. If I didn't then I could simply write them on my computer and save them for myself. But I'm posting them for the world to see and to share with others what I find so great, so yes it would be nice for me if people read them.

You'll also notice song lyrics throughout my posts. I think good lyrics are awesome, they inspire (for lack of a less cliched term) me and so I want to include them for that reason. I should also say that I have likely stolen various snippets of information about the various artists from elsewhere. And it is likely that I discovered said artist through a particular source. I will try and give credit where credit is due, but if I forget, don't crucify me. I promise my intentions are honourable. Don't I seem trustworthy?

I hope that someone else gets something out of this, but at the very least I know I am. You are welcome to follow me into oblivion and see where it takes you, but I don't blame you if you couldn't care less. I also hope this post was coherent enough, if it wasn't, welcome to my mind.

"Music arouses dormant sentiments of which we had not conceived the possibility, and do not know the meaning; or tells us of things we have not seen and shall not see." - Charles Darwin

Why is this here you ask? I like pretty pictures.

Courtesy of Digital Blasphemy (which I strongly recommend you check out if you want some awesome backgrounds, they have a free section which is updated with new wallpapers fairly regularly).

Entertainment for the Braindead - Hydrophobia (2008)

"You and I, we're merely shadows..."

Entertainment for the Braindead made its way to my ears a couple of years ago through a "mixtape" exchange on a forum I frequent (frequent is maybe an understatement, more like "live at"). I have many people to thank on there for exposing me to a lot of different artists that have had an indelible mark on my musical personality. Moving on: Entertainment for the Braindead is Julia Kotowski from Cologne, Germany. It's essentially just her singing with a guitar plus/minus a range of other miscellaneous instruments (including, but not limited to: ukulele, banjo, flute, tambourine, a cardboard box, and some peppermills).

Now, you may be picturing some sort of crazy girl with drums strapped to her back, a harmonica by her mouth and a guitar over her shoulder, singing while banging on pots and pans to create a cacophony of noise that doesn't resemble music. If you are, then wipe it from your mind because this is anything but. Entertainment for the Braindead, in addition to having a totally awesome name, is one of the most beautiful things I've ever heard. Kotowski's majestic and honest voice permeates the tracks, while the simple yet layered music behind it, accompanies it perfectly.

Hydrophobia, released in 2008, is a 10-track aural dream. Beginning with "Prologue" that is just under the 2:00 mark, we hear a female voice reciting excerpts from Edgar Allan Poe's short story 'A Descent into the Maelstrom'. Perhaps a perfect way to begin an album titled after the fear of water.

To me, there isn't a stand out track on here, as they are all amazing. Each one with lyrics that are beautiful, emotional, and honest. Exactly what you want from a singer-songwriter. Generally singing about relationships and drowning, it may not be an upper, but life isn't all sunshine and rainbows now is it? Though the tracks still have a hope and solidarity in them. With the simple accompanying guitar and other instruments, the listener can focus on the subtleties of her voice. It's clear that Kotowski has a penchant for being self-deprecating, maybe even detached, but you get the feeling she's just being honest, she never takes it overboard (no pun intended). With lyrics like:

"Before I start 

To sabotage you

Run! 

Before I start

To complicate you

Run!" 

and 

"Of course you can have my heart

If you want

Just cut it loose and pull it out and leave

I'm glad if you take it away from me"

Self-described as "acoustic egocentric post-pop", this is nothing short of something truly special. If you want to hear a real album, that clearly comes from the heart, this is for you. It is kind of Entertainment for the Braindead to share the music she creates with us, I for one am extremely thankful.

Thanks to this great site for a lot of the information here, as well as the official website, and Facebook. All Entertainment for the Braindead music is also available in the website above, here and, here for free under a Creative Commons license. Though honestly I'd pay good money for this stuff.
Lyrical excerpts from Run! and Mi Corazon, respectively.

SBTRKT - SBTRKT (2011)

"When something goes right..."

It took me several minutes to realize that SBTRKT=subtract. After thinking about it for longer than I'd like to admit, I finally figured out what it meant. No longer was I sounding stupid (in my head) saying, literally, "s-b-t-r-k-t". Seriously, give it a try, it sounds awkward. Anyway. SBTRKT is Aaron Jerome from London, UK, and includes, technically speaking, frequent collaborator Sampha. SBTRKT has released a string of singles and EPs before releasing the self-titled debut this year. I miraculously discovered this gem through a "Best of 2011" list, where their #2 pick was an album I had already listened to and loved. I thought may as well give this a try, they must have good taste, and I'm always looking for new music. They (Drowned in Sound) didn't steer me wrong.

Adding a nearly indescribable warmth to dubstep, or electronic, or drum 'n' bass, or whatever the fuck you want to call it, SBTRKT manage to take the listener on an emotionally charged, groovy trip from start to finish. The vocals of Sampha feature on several tracks, as well as those of Jessie Ware, adding a feminine touch to the tracks she sings on. This album will drag you in and make you want to dance as well as take some time for reflection. A difficult task for any artist, let alone an electronic one. 

The image on the front cover of a face in a ceremonial mask gives you the vibe of something native and mystic. This is a good way to describe the sounds on the album as well. Jerome has stated that he would prefer the "music to speak for itself", and the name SBTRKT comes from "subtracting" himself from the process. The music here certainly speaks for itself, and as such you'll want to spin this on repeat. Part of its charm is perhaps the fact that it doesn't take a lot of time to sink in, it instantly clicks and you find yourself enraptured by its sound. 

I've seen this compared to Burial and Aphex Twin, however I don't see the resemblance. SBTRKT has a significantly more personal nature. It also possesses a feeling of comfort, all the while keeping its mystique. Although this album still sounds modern, no one can be surprised that this was released in 2011, it lacks the cold, detached feel that the aforementioned artists have. (Not to say that I'm not a fan of both Burial and Aphex Twin). 

The best way for me to describe this is that this is a great album for those looking for an out of body experience. Calling this dubstep or electronic would be selling the whole thing short. Maybe we can call it soul-electronic or soul-dubstep. It certainly has a spirit of its own.