Flyleaf - New Horizons (2012)

"You said I only have to wait until I die And that's in no time"

 Warning! Possible (strong) personal opinions ahead! 

Of course when a band is religious (and talks about it, either in interviews, their songs, or both) that's the main thing that comes up when reading or writing about them. It is often used as a pro or a con: a way to elevate them if you agree with their religious affiliation or a way to throw them in the gutter if you disagree. This is generally the case for people hearing the band for the first time, and of course I'm generalizing here. Though I will even admit to having a small tense up at the idea of listening to a band labeled as a "Christian metal" band. But I knew I would be being just as closed minded if I chose not to listen to them due to their religion. So when I heard their self-titled debut (released in 2005) back in summer of 2007, it became a non-issue almost instantly, and I was hearing them for what they are: a band. One with members that happened to be proclaimed Christians, but a band nonetheless. And then that's all the Christian metal label was, a label.

As is probably obvious, I became a fan. Besides the fact that they were making music I enjoyed generally, I'm always a sucker for female vocals and metal music! Which to me, is the defining quality of Flyleaf. The band is made up of Lacey Sturm (née Mosley) as lead vocalist, Sameer Bhattacharya on lead guitar and backing vocals, Pat Seals on bass and backing vocals, James Culpepper as drummer and percussion, and Jared Hartmann rounding out the sound on rhythm guitar. Though sadly, just as New Horizons was releaed, Lacey Sturm left the band to spend time with her family. While of course understandable, I can't say I'm not disappointed. But with three albums with her on vocals (the second being 2009's Memento Mori), at least I will have them. Both of Flyleaf's previous albums have stayed with me fairly constantly, and I expect that New Horizons will join them in the years to come.

Sturm's voice is a unique one to say the least. The emotion and conviction it carries is always present. Whether it's anger, melancholia, love, or hope, it's always there and it's always honest. I feel what she is singing about every step of the way. To hear a vocalist who has so consistently strong emotions in every song is a rarity. Though the lyrics may be more akin to a pop song in their simplicity, it doesn't stop me from truly enjoying each line. However, this isn't to say that her lyrics are vapid or meaningless, they are in fact just the opposite. Nor are they ever happy-go-lucky, there is realism and the feeling of searching for the light in the darkness here. New Horizons is no exception in this regard either. While Sturm may have been a little angry on their debut and a little morbid on Memento Mori (Memento mori generally meaning 'Remember you will die' in Latin), her lyrics still have a hopefulness and resilience in them. Here, New Horizons takes all of it to a whole new level. (As well I should also mention that backing male vocals are a bit more present here, a nice addition to change things up in a few places). Full of a desire to move forward and the human condition of mortality (the title track), but also an anger with our current consumer society ('Bury Your Heart') and music as a business ('Cage on the Ground'). Sturm shows true emotion but also her ability to look outside herself and see what's around her, not just what is going on inside her. Though she sings of love, and living life to the fullest, she also sings of loss and pain. It is a perfect dichotomy on each of Flyleaf's albums. We all know that life isn't life without pain (yeah, clichés!), and Lacey Sturm continues to put this in to honest words that everyone can relate to on some level. Are there allusions to God on occasion? Of course. But even if you aren't a believer, you can't say that she isn't a killer vocalist and poignant lyricist. 

Flyleaf tend to write shorter songs, usually between 3 and 4 minutes, making their albums around the 30 to 40 minute mark in length. Some may be discouraged by this but others may find this refreshing. While I don't feel discouraged, I do find myself wishing they were a bit longer, as I want more Flyleaf! But in all honesty, they are a great length. Short and sweet to my ears. Some of their songs can be quite catchy as well, as I mentioned the lyrical structure is more of a verse-chorus-verse akin to pop songs (I feel like I'm not going to be getting Flyleaf any new fans from this review but oh well!). But to me, this is what makes Flyleaf appealing as well. This isn't a band that spend their time getting to the point, they just get to it. It can be satisfying to digest a 3 minute song, especially ones so full of strong emotion, any longer and you might be too drained to continue. Hearing New Horizons the first time, a couple of times I almost teared up at Sturm's vocals and lyrics. I'm over it now of course, but the strength in her voice is astonishing. It floors me every time I listen to a Flyleaf song. So while the songs and lyrics may not be overly complex, this isn't necessarily a con. A short song isn't worse than a long song. For me, Flyleaf's songs are just as powerful as a 12 minute opus from a different band.

I know I didn't say too many things specifically about New Horizons, but I believe you get the idea of what this will sound like by me describing Flyleaf and their general sound. This isn't a copy of either of their albums, and in fact shows an evolution as a band from debut to Mementor Mori to here. They sound tighter here than their debut for sure. But from this review I think you get the idea that Flyleaf is Flyleaf. 

So in general, New Horizons is a great Flyleaf album. I've devoured it over and over again in the week since its release. Naturally, Sturm is just as memorable as ever. Though I have yet to decide how I feel about a new Flyleaf without her. But the songs here are superb overall. Flyleaf maybe isn't my usual fare, but I still think they are an awesome band who make very listenable and honest music. And while you may not discover something new with each listen, you are guaranteed to feel something*.  

*(unless you're a robot)

Katatonia - Dead End Kings (2012)

"Forget what's said And hear me sing to you"

Dead End Kings. This is the album I've been waiting for Katatonia to write since I got in to them not so long ago, back in 2007, about a year after the release of The Great Cold Distance. Though I started with their 2006 release, these guys had a long history before I discovered them. Formed in Stockholm, Sweden in 1991 by Jonas Renkse (current vocals, keyboard, and guitars) and Anders Nyström (current guitars, backing vocals, and keyboard). They are considered with bands Anathema and Paradise Lost as the purveyors of the 'doom' genre, however the thing that comes up most often in an interview or when talking about Katatonia is their switch from growling to clean vocals. As has become what I would now say is a tradition in the broad metal genre, this shift that some bands (ex. Opeth) take seem to cause a rather extreme reaction among die-hard fans. The bands are going to do what they want with their OWN band that they built from scratch and put their lives into?! How dare they!? I'm sure you can tell how I feel about those extreme reactions, of course everyone is entitled to their own opinion but then don't listen if you don't like. Then complain about it on a message board somewhere, the new way of the world. That's fine with me! There's just no need to personally berate an artist for doing what he/she wants. Rant over. So Katatonia (at least they made the switch early in their career?). These guys have a long history but you can read about that somewhere else if you're interested, I won't waste more of your time. This includes personnel changes, as with many bands that go the distance. The current line-up consists of (in addition to Renkse on vocals and Nyström as lead guitarist) Daniel Liljekvist on drums/percussion, Per Eriksson on guitars, and Niklas Sandin on bass. Anyway, since this blog is written by me I'll tell you about my Katatonia history instead! In 2007 when I picked up The Great Cold Distance through a recommendation somewhere (iTunes, I think, sometimes it is good for something), I had played it a few times and didn't get much out of it. I never disliked it but it never clicked. Then one day I woke up and all of a sudden the album was AMAZING (I don't remember what changed, it was 5 years ago, however I just read an interview with Nyström where he talks about how it was influenced by Tool's Lateralus and Porcupine Tree's In Absentia, 2 of my favourite albums)! As is usual when I find an album I love, I played it constantly through the fall of 2007, it was basically my soundtrack those few months. The emotional, dark lyrics, the hard drums and bass with guitars thrown over top (I'm simplifying) of Katatonia, was, well fucking intoxicating. I slowly explored their back catalogue, and while albums Last Fair Deal Gone Down (2001) and Viva Emptiness (2003) were thoroughly enjoyable, nothing really gave me the same feeling that The Great Cold Distance did. Additionally, somewhere along the way I came across the bonus tracks that didn't make Great Cold Distance and instead were included on EPs and singles at the time. Now here was something special, similar to The Great Cold Distance but a step further, I fell in love all over again. This was the Katatonia I wanted to hear on their follow up! And while 2009's Night is the New Day is an excellent album, I think I didn't realize that I was a little disappointed that it wasn't quite in the direction of those bonus tracks. Until I heard Dead End Kings. Not a collection of The Great Cold Distance B-sides but a logical and impressive progression to something I needed to hear*. Tack, Katatonia for making this album (and inadvertently fulfilling my desire).

On to the review (finally)! Dead End Kings begins with 'The Parting', and it opens up the album wonderfully. Honestly, after Night is the New Day I wasn't too sure what to expect from this next album, I hadn't even really been anticipating it that much, the release date really snuck up on me. However, as soon as I hit play I knew I was in for a treat. The first track starts with the focus on Jonas' voice with an almost orchestral background as he emotionally sings to the listener: 

In the weak light

I saw you becoming the lie

Taking it all for granted

Like freedom

It's something you'll never have

It's a strong introduction, capturing your attention and forcing you to focus on what he has to say. It worked. I was all ears and incredibly thrilled to hear the sound they seemed to have on this album. The album then continues with 'The One You Are Looking For Is Not Here', another great track. At points throughout the song Renkse's voice is overlaid with female vocalist Silje Wergeland of The Gathering. This understated addition gives a different and interesting quality to the song. I would definitely be up for more female vocals in Katatonia! Another notable track is 'The Racing Heart'. The soft keyboards interchanging with the crushing "metal" sound work perfectly for this track. You also feel a strong emotional connection to Renkse in this song with his vocals and lyrics. The rest of this album is solid throughout, as usual there are no filler tracks and each track is of thoroughly high quality from creativity to musicianship to production. Every song is memorable in its own right and it is likely that everyone will find a favourite of their own. At the moment I can't say I could pick one above the rest, they are all amazing and all clearly belong on Dead End Kings. 

The darkness, emotionally and musically, is one of the defining qualities of Katatonia for me. Perfect for those dark winter nights and long autumn days. They don't write particularly long songs but they manage to get a lot in to one anyway. Each track is the right amount of time, there aren't any lengthy passages where one member is above the rest. To me, in Katatonia there is a feeling of solidarity, each piece forming the whole. This isn't surprising after a band has just released its 9th studio album, but it is an admirable quality that can only come from a great group of musicians in my opinion. 

As you'd expect, one of the things that attracted me to Katatonia is Jonas Renkse's vocals and lyrics. Dark, slightly depressing, with a touch of anger, they are a perfect blend, particularly to go with the music. I very much enjoyed the lyrics on The Great Cold Distance, and Dead End Kings is no different. There are strong passages in each song that are memorable for what he says and also, importantly, how he sings them. With Katatonia sometimes there is a focus on the vocals, but there are also significant portions where it is more in the background, or intermixed with the music so that they aren't the sole focus. This gives their songs a bit of a different feel than most bands where the vocals are all up front. I think this is a great aspect, and one that the band has definitely perfected. As far as Jonas' lyrics go, there isn't a particular connecting line as far as I can tell. At least not a story, but perhaps an overall theme. He describes the title/album as follows: "Dead End Kings is about the corridors of our mind from where there is no return. Be a king or queen in your own right in these hallways, even at the dead end. Carry your burden with pride. That’s what we are doing, twenty years and counting. Kings,  because we believe in what we are creating, in our own disturbing faith." No better sum up than from the man himself!

Like I said in the opening paragraph, this is the album I've been waiting for Katatonia to write. And also like I mentioned, this is in no way a copy of The Great Cold Distance or just a collection of leftover B-sides from that time. It is a new entity unto itself and none of these songs would be at home with those. However, that being said this is what I really wanted to hear after The Great Cold Distance. It feels more along the lines of a logical progression from that album. Where I felt Night is the New Day was less emotional and maybe a bit cold, and not in a good way (save some tracks of course). It just wasn't the Katatonia I had fallen in love with. Though still admirable and a great album, it didn't become my favourite. Night is the New Day seemed to be a rather different step from The Great Cold Distance. Here, 6 years later, Dead End Kings picks up the thread of that Katatonia and weaves it into an entirely new masterpiece. 

*Mind you, this is my personal opinion, and while of course I'd argue that this is a great album on its own merit, I think part of my utter gushing for this album is coming from the sentimentality I feel towards The Great Cold Distance.

Metric - Synthetica (2012)

"I've been sleepwalking through the railway station Wake me up when they call my destination"

I remember back in 2005 when I heard 'Monster Hospital' off their album Live It Out for the first time. My friend who was with me at the time proudly proclaimed "I was into them before they got popular". Having not even heard of them until that moment, 'popular' wasn't what I was going to describe them as. However, she clearly had musical knowledge that far exceeded mine so I took that to mean that they were big and I was late to the party. Not sure if I was really that late, or that they were that big, but that's irrelevant.  I devoured Live It Out instantly, it was on constant rotation in my CD player (my PORTABLE CD player, this was before iPods were all the rage). About 7 years later, and now 3 albums more, with 2 live shows thrown in there for good measure, the rest is my Metric history. This Canadian group, based in Toronto but with connections to Montreal, New York, London, and Los Angeles, have released a total of 5 albums to date. In general though, I still (proudly) consider them Canadians. Though I try and shy away from taking the vocalist as the meat of a band, since I believe everyone is important, it's hard to ignore the defining quality that Emily Haines brings to Metric. But lest I break my rule, Metric wouldn't be Metric without Joules Scott-Key on percussion, James Shaw on guitars, and Joshua Winstead on bass. I'm sure they are just as interesting as Haines. Probably.

On to 2012's release: Synthetica. The album begins with 'Artificial Nocturne', and the very first thing you hear is Haines epically telling the listener: "I'm just as fucked up as they say.". And who wouldn't instantly fall for an album with an opening line like that? You get the picture of a stark stage, spotlight on Haines, as she belts out the line alone and it echoes around the room. It's a powerful moment, and an interesting way to start things off. It's the sort of album opener that instantly grabs your attention.Though to be fair, I can't say I was in love on first listen (especially the way I was with their last album, 2009's Fantasies). But after a couple of rounds, I was definitely into this album. I have yet to decide where it falls in their back catalogue, but with Metric albums, each tends to confer a certain mood or location, so I enjoy them all for different reasons at different times. Next comes the single off the album, 'Youth Without Youth' is an interesting track, the beats are much heavier and the tempo is more upbeat. Additionally, Haines' vocals take on a casual tone, this is one of the more positive (sounding) tracks, but the lyrics don't necessarily convey that. In general, this was also one of the few albums I've listened to where the first time I heard a song I actually really disliked it, but now it has become my favourite on Synthetica: 'The Wanderlust'. This track features vocals from Lou Reed, and while at first I was not impressed to hear someone else taking up precious Emily-vocals time, I grew to really enjoy this. It actually works quite well in the song. I wouldn't mind hearing some collaboration in the future, as I have always also enjoyed the combination of male and female vocals, but perhaps with a different vocalist.

This album builds on what was begun on Fantasies, bringing in a more electronic sound while still keeping the recognizable guitar sound of Metric's previous releases. Metric has never been a straight 4-piece band to my ears, they have always had a bit of a different swing in their step. Though I would hardly consider this Fantasies Part 2. This is still distinctively a new Metric album and in fact, the mood is vastly different here. Where Fantasies brought a combination of calm cynicism and rock songs, Synthetica brings disillusionment and more electronica.

Haines' lyrics have always been firmly planted in realism. I think she really takes a step further here, particularly on the title track. I could likely give a thousand examples of a time that Emily Haines struck a chord with me through the lyrics. She has a talent for emotions sung plainly, to the point where it's possible to have no idea what she is really talking about, but you can probably relate in some way. This is what makes a great vocalist/lyricist. You may not be in the same situation at the same time, but at some point or in some way, you really feel what they are talking about. It's honest, and most importantly, it's real.

Haines says of Synthetica: ".. It's about what is real vs. what is artificial.". And I think this sums it up well, again particularly on the title track where she sings: "No drug is stronger than me". She also describes the album as being about stopping for a moment and realizing your surroundings and looking inward at yourself, a theme they wanted to represent in the artwork as well. Where you look through a window(?) at an upside down outside world, an impossible vision as it were. As usual, Metric is asking the listener to complete the difficult tasks through their work: confront your surroundings, confront those around you, and probably most frighteningly - confront yourself.

OSI - Fire Make Thunder (2012)

"This quality won't come again Completely overwhelmed with nothing"

Finally a review from this year! I quite honestly can't tell you exactly how I started listening to OSI (acronym for Office of Strategic Influence - named after the American government agency that did exist briefly in 2001). But I found my way there somehow, listening to 2009's Blood, and I have been a fan since. Composed of Kevin Moore (ex-Dream Theater, current Chroma Key/solo) on vocals and keyboards and Jim Matheos (of Fates Warning) on guitars and keyboards. They also have someone filling in on drums, in the case of Blood and Fire Make Thunder, Gavin Harrison of Porcupine Tree. Additionally, we hear guest vocals on some of their previous releases (Steven Wilson, Mikael Akerfeldt to name a couple). Talking about OSI becomes a little bit like naming the who's who of current progressive (metal) music. However, Moore and Matheos remain the only two official members, and there are no guests (save Harrison) on this current release. To me, this duo is a great combination, they fit together well and clearly know what they're doing. And here, the tradition didn't end with Fire Make Thunder.

The album opens with the track 'Cold Call'. The entire song is laid over a false alarm radio broadcast of an imminent national emergency warning (an accidental initiation of the Emergency Broadcast System in Fort Wayne, IN, here is the whole thing if you want to hear it sans song). First with just music over the broadcast, slowly building and layering until Moore's voice finally comes in at a whisper, then he starts to full on sing. Throughout the track you can still hear snippets of the broadcast, giving the feeling  of an archival radio show intermixed with the song. The entire album flows well from one track to the next. Other stand out tracks for me were 'Wind Won't Howl' and the 10 minute 'Invisible Men' that closes the album, though the latter took some growing. Interestingly, this album didn't take very long to grow on me in general, I found something to love in it immediately. Perhaps this comes from the more practised approach of these two musicians.

Fire Make Thunder isn't a continuation of Blood, other than maybe the instrumental 'Enemy Prayer'. But none of the songs here would feel at home on Blood and vice versa. This is a step elsewhere, while still remaining at its core OSI. But that's not to say that you won't like this if you enjoyed Blood, or any other of their albums for that matter. However, as mentioned this album seems a lot more focused and relaxed than Blood. As if the duo/trio has found their proper footing.

The album continues with the use of the guitar, keyboard, and drums that make up OSI's sound. It does it well. Each instrument is clearly present, having both its moment to shine as well as showing it can be complementary in other situations. Additionally, its clear they can hold their own or work well with the vocal accompaniment.

One of the things that drew me into OSI was Moore's voice. (It's what also got me hooked on to his solo project, Chroma Key.) Though if asked if he's a talented vocalist in the traditional sense of range, power, etc., I don't know that I would necessarily say yes. But something in his voice conveys a cynical honesty that I just can't resist. His lyrical themes range from hard to interpret to political to personal. I find he is at his strongest when he is speaking of personal relationships, it seems to suit his voice. However this is more my particular preference. On Fire Make Thunder, the lyrics don't always grab me like they do on Blood and Free (2006). They aren't bad, but they aren't my favourite either. What Moore lacks a little lyrically on this album he will always make up for with his self-described "speak singing", it is a little as if he is talking to the listener. And I could listen to him talk all day.

In general, this is a really solid album and I've gotten a lot of plays out of it since purchasing. Being a fan of OSI this is a must have, it's a great addition to their catalogue. This is an excellent album of 2012. And I will always gladly and excitedly welcome new Moore & Matheos material!

Puscifer - Conditions of My Parole (2011)

"Pull the curtain back and let the show begin"

I think it's relatively obvious why I started listening to Puscifer: Tool/Maynard James Keenan. Bands may float in and out of my "top artists" but Tool will remain there as they hold a special place in my heart. When I got into Tool, that is when I really got into listening to music. And as much as he receives shit for his stage presence, arrogance, opinions in interviews and repertoire with fans (some of it may be deserved, some of it not), I don't think you can deny that Maynard is a great artist. And to the naysayers: He doesn't give a fuck about what you and I think. ANYWHO, Puscifer! I think it is simplest to refer to it as the solo project of Maynard James Keenan, but there are obviously various musicians/guests involved. Before the review, first some history, as I think it is necessary to mention how we got to Conditions of My Parole, as well as give you some context for my opinion: before releasing 'V is for Vagina' in 2007, a couple of tracks (well, remixes?) appeared on the Underworld movie soundtracks, and along with the 'Cuntry Boner' single, all were out for the world to get introduced to Puscifer. I really loved the stuff on the Underworld soundtracks, and still do. But I'll be honest, the Cuntry Boner offering wasn't quite up my alley, it was a fun time for sure, but nothing to keep me coming back. It was more of a joke than anything. Maybe that's what Keenan was going for, a lighter version of himself than the one we hear with Tool, or even A Perfect Circle for that matter. 'V' didn't really follow either of these releases stylistically, it was both and neither, nor was it a Tool record. The only thing they really have in common is MJK's voice. 'V is for Vagina' felt like a more relaxed, groovy Maynard. It had some depth but it wasn't too heavy. There were tracks that I loved, and tracks that I could take or leave. It was a solid album and I certainly enjoyed it, but save for the tracks I really liked I found myself taking it out less and less as the years went by. I still listen sometimes, but it feels more like a nostalgic listen. For me, the next notable release was the "C" Is for (Please Insert Sophomoric Genitalia Reference Here) E.P. This, this was something great. The whole 6 tracks (4 new and 2 live) were all very strong in my opinion. Keenan seemed to be coming into his own as Puscifer (awesome guests too, including Milla Jovovich whose voice on The Mission goes perfectly with Maynard's, as well as Trent Reznor having a writing credit on the Potions mix). After this EP and seeing them at their one of a kind live show (highly recommended), I was psyched to learn that they were releasing a new full length in 2011. I had high hopes for this evolved Puscifer, and they didn't let me down. (Holy long paragraph Batman!)

This album is significantly more polished than 'V'. The compositions seem much more coherent, and the album flows nicely from one track to the other. As I said, I think Keenan really found his footing with Puscifer and Conditions of My Parole. He certainly started it with 'C' but perfected it here, taking it to a whole new level. The album is also a lot more chill and understated in many portions. Each song seems a little more carefully composed and executed. Another good thing here is that there isn't too much filler, we get 12, full tracks, each a juicy morsel unto itself. Additionally, the groove of Puscifer is kept but this time there is more of a soundscape to it. It's still Puscifer, just better. Perhaps the touring and the passage of time between albums gave this a better chance at aural success.

Maynard again combines some humour with deeper themes in the lyrics. He does it well too, and you feel as if his personality may be coming through. Many emotions are present in the lyrics, and all are delivered with intensity and conviction, one of Keenan's strengths as a vocalist. Additionally, Carina Round performs backing vocals on several tracks, the feminine vocals giving them a touch of softness. Luckily here, Maynard's voice is one that is only complimented by a female voice, not over powered or in sharp contrast. Though it's almost so in the background that it's difficult to pick up most of the time, but when you do it can be rather rewarding, giving another layer to the tracks.

As Maynard has likely been spending significant amounts of time in the Arizona desert making wine, I can definitely get a sense of that in the style of the music. Perhaps that's no surprise as Conditions of My Parole was recorded in Jerome, Arizona. I feel as if I am out in the quiet, desolation, far away from the city, watching the sun set on a clear blue sky. This quality in the music is somewhat indescribable, you can't put your finger on it but it comes over you as you listen to the album. This is a special result, it's not often you feel where the musicians are when they are recording, particularly when it's a place you've never been. Must be something in the DNA of the album that allows the listener to grab onto it deep within and be in a similar mind space the musicians were in when they were recording.

In general, while I'm always happy to see another musical side of Maynard James Keenan, even if it's not Tool, I always considered Puscifer more of a "side project". With this album, MJK & co. are creeping in as a full on force to be reckoned with. I don't feel that they need to ride the coattails of Maynard's success with Tool and A Perfect Circle anymore, they are their own entity, creating and performing great music. This album continues to demonstrate that there is nothing one-dimensional about Keenan, in fact he can explore new aspects of his artistic personality, and clearly he can thrive in doing so.

As well as Round, and although I consider Keenan the driving force behind Puscifer, I can't give him all the credit! So I should point out that a large number of musicians participated.

Cog - The New Normal (2005)

"I've got a key to the lock in your head"

It was a sad day when I learned that Cog essentially broke up, and while I will continue to the mourn the loss (reminds me of other sad demises that came around the same time too - RIP Isis and Oceansize!), at least I can take comfort in the fact that I will always have their past output to enjoy forever more. As I recall, I got into Cog through http://toolshed.down.net when someone recommended their pair of Just Visiting EPs. They were streaming on a website somewhere and I fell in love fairly instantaneously. It was very different from other things I was listening to at the time, and each song was stuck in my head for days. Once that happened, I knew I had to delve further. This was just the tip of the iceberg, for when I heard The New Normal, it was an album that stuck with me. As such, I had it on constant rotation for months afterwards. And as you can see, I still take it out frequently.

Cog is a trio made up of brothers Flynn (vocals, guitar) and Luke Gower (bass, backing vocals), with Lucius Borich on drums. Hailing from Bondi, a suburb of Sydney, Australia, these 3 guys seemingly make something from nothing. You picture them in a garage, or a simple room, or even just out in a parking lot on a quiet street. Not that the production is shabby, it's just real, it sounds like it's just them and their instruments. Nothing too fancy, they're just making good music. They've carved out their own sound, and they wear it well.

When I heard this album, as I mentioned, it was unlike any of the music I was listening to at the time. It certainly has a rock/metal vibe about it, additionally it gives the listener a sense of something visceral. Though now it brought a sort of progressiveness to the sound I was used to hearing, while still remaining catchy. However, don't let 'catchy' scare you off. This is not generic rock music, where each song sounds like the last. While I'll admit it may not be the high point of complex songs, it is still special in its own right. The band has stated that they are influenced/inspired by bands such as Tool, Isis, Deftones, Nina Simone, Bob Marley, and Helmet. You may hear these influences in their music, but Cog is no direct copy of any of these big names.

With the lyrics of The New Normal, Flynn draws on what I would consider a general dissatisfaction with society and authority. Most of the time the references are not overt, nothing specific is ever mentioned, but they are still obvious. In fact, the whole album is a sort of "protest commentary" (this however, is nothing compared to the lyrics on their sophomore album Sharing Space). I appreciate The New Normal's lyrics because you know what Gower is talking about, but you can take your own meanings from them in addition to the obvious ones. For me, this is important in an album's longevity: the lyrics should still make you feel something no matter what mood you're in.

For me, this album was an instant classic. It is like a good beer, great the first time you drink it and still great years later (I feel like I am often comparing albums to food and alcohol...). It may not offer a lot of hidden gems that you don't hear the first listen, but it's solid from start to finish. This isn't a pretentious album, it's honest and full of energy. It does flow well in order from the opening track 'Real Life' to the closing, 10-minute song 'Naming the Elephant', but it's possible to pick and choose songs without feeling as if you are disturbing the order. Cog are special too, in that they can write catchier 3-4 minute songs that rock, as well as being able to write 8-10 minute songs that can grab you and keep you there.

I'll lament the loss of this wonderful band, but I'm still glad for every minute I have with The New Normal.

That's right - triple post!

I've had several reviews in the works for a while and just felt inspired this evening to finish a couple of them up, thus the spam. I'm starting to write a couple more for albums that I've been listening to a lot lately, not sure when I'll actually finish them and put them up but hopefully there won't be over a month in between again!

††† - EP †† (2012)

"As long as you play my game I'll let you win"

Since I've reviewed these guys earlier, I'll skip the introduction this time around. Their second EP isn't free in this case, but it's still only $3.99 USD for the regular MP3 version (a smidge more expensive if you want the HQ audio, artwork, and remix stems).

This is less a review and more of a recommendation. The EP almost isn't long enough to write a full on review, just a quick description. Especially since I already said a lot in the previous entry.

Crosses have clearly crafted their sound here, I still think 'electronic Deftones'. Moreno's voice permeating throughout the sounds on each track. This, to me, is just another addition to the discography, not necessarily a separate entity from the first EP. They may have a slightly different mood, but it is subtle enough that you could mix up the 10 tracks and someone who had never heard Crosses before would not be able to tell that they came from separate releases. 

Again, around the 18-19 minute mark, this is definitely another solid release. Moreno is just as enthralling, fitting the music well. And with his one part cryptic lyrics, one part sensual voice, he is the highlight for me. If you liked the first EP, you are guaranteed to like this. While there may not be a lot new (other than we get 5 new tracks), it is a nice expansion to what is (turning into) the Crosses catalogue. This new sound works and I will continue to eagerly await new music from these guys!

Cloud Cult - Light Chasers (2010)

"Here comes the light Here comes the light Give me that light"

Another fortuitous find. I was listening to an internet radio station at a friend's house a couple of years ago when a track from this album came on. I had never heard it, or of Cloud Cult, but I was instantly taken with the sound coming from the speakers. Went home and got the album the next day. I spin it rather frequently today, naturally.

Cloud Cult is a long list of musicians, playing the usual four-piece instruments as well as a few others (trumpet, trombone, violin, cello, and French horn). Hailing from Middle-of-Nowhere (just kidding it's Minneapolis), Minnesota, the band is led by singer/songwriter/frontman Craig Minowa.

According to Wikipedia (clearly, the final word on all things music...) its genres are (as you've noticed, that's me in the brackets, and so I will continue the tradition for the moment): art rock(okay?), experimental(sure?), indie pop(don't stop reading!), and baroque pop(what is that exactly?). But as you can see, genres are pretty much meaningless to me, it's easiest to say this sounds like Cloud Cult. I don't think I listen to very much that would be similar to this band so therefore I won't compare, though I think it'd be a tough task anyway. This album is certainly more interesting than any generic pop or 'it all sounds the same indie music' I've heard lately as they have put more care and creativity into it. And with this being Cloud Cult's 9th album, they've clearly continued to hone and perfect their sound to make it something you might not hear too often.*slight disclaimer about this paragraph below

This collective of musicians come together to make a special kind of sound. Though driven by Minowa, this hardly has the markings of a one man band. Cloud Cult sounds like a combination of the usual guitar music with a small orchestra slotted in to give them something unique. The members use it well, and while you may think of a clusterfuck, it is definitely more akin to a collective of instruments that meet on common ground to create the music. In addition to the objects played on the album, the vocals are prominent. There are a couple of shorter, instrumental tracks, but other than that we hear the singer clearly throughout. Here, you feel like he is telling a story. The story lines don't appear to connect and it isn't always in the same tense / person (past vs. present and first vs. second person all exist here). Though it does appear to be chronological, giving the listener the sense of a journey. The lyrics are hopeful and self-reflective, however they are also ripe with wanting to run away and be free.

When listening, you almost want to follow the vocalist and be transported away from your problems, your obligations, your loose connections that you don't want to hold on to any more. You can put aside yourself for a moment and just let go while you listen. It is a good way to describe this album: a freeing one.

*I should say that I have nothing but respect for those musicians who are really trying, honestly, to make good music, however I continuously come across bands that sound the same to me. They aren't doing anything to further the sound of their influences, they aren't crafting their own sound, they are just generic or trying to ride the coattails of another interesting band. Note that this is my opinion.

Fovea Hex - Here Is Where We Used To Sing (2011)

"...and I can hear but I can't quite follow"

Through the glorious Steven Wilson, I found out about this project. They are frequently in his playlist and always in his top 10 lists. I thought if this genius of a musician listens to them, then I must try what he is listening to! And in this case he was oh so right. So thank you to Mr. Wilson (who will never read this) for doing the leg work here to introduce me to a band I had never heard of and may never have heard otherwise.

Fovea Hex: fovea - Latin, meaning pit or pitfall, hex - a magical spell, usually a curse, from the German word for witch 'Hexe'. Perhaps you conjure a certain image or feeling when you initially hear those words strung together. For me, like most initial impressions through band names alone, I was not even remotely close to what I heard. What I heard was beautiful, melancholic, and understated. You will hopefully see what I mean by these three descriptors as the review continues.

Fovea Hex is Clodagh Simonds, leader of the group, though as the website states, whether Fovea Hex is indeed a group and she indeed a leader, is up for debate. The 'group' includes some usual suspects, some bigger names like Brian Eno, as well as some individuals who "prefer to remain nameless". However the project is driven by Simonds as she covers vocals and a variety of instruments, as well as being listed as writer for every track. This is actually also the group's first full length album, with the previous major release being a string of 3 EPs.

The focus of this album is often on Simonds' entrancing voice, usually accompanied by simple instrumentation that compliments her voice. Though rather than describing this as singer/songwriter I would compare it more to ambient with vocals. The vocals for me are truly profound. Sometimes with a feeling of vulnerability and other times it is as if she is telling a story. In addition to the vocal tracks, there are a few shorter (approximately 2 minutes) instrumentals to fill in the album. I wouldn't necessarily say they are fillers however, more like pleasant segues that seem to string the tracks together more cohesively. For the vocal tracks, it is both comforting and satisfying to listen to the music rise and fall with her voice, well put together by the musicians involved. This, however, does not mean this is a boring album, with the listener able to anticipate where the song will go next. It is the opposite in fact. While the combination may sound simple, that is hardly the case. In its understated way, it will still take you off guard. The album can best be summed up as beautifully melancholic. It doesn't make you depressed, and in fact there is often solidarity and hopefulness in the lyrics, but it does bring your emotions to a feeling of muted calmness. You want to sit and listen, reflect, take it all in.

Here Is Where We Used To Sing is one of those rare albums that, to me, is exactly what you want in an album. It never drags on and in fact, always leaves you wanting more. Like that perfect wine or beer: you can taste it, let it linger in your mouth, and truly enjoy it. When you've finished the bottle, you are satisfied with the experience, but you have every intention of having another at a date in the future. You are pleased that your palate is quenched, but the craving will never truly leave you. It's near perfection. 

Listen (also on Spotify)

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.