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.