Best of 2013

I've decided to begin posting my best of the year lists, since I make them every year anyway. It was a great year for music for sure. I didn't write too many reviews this year however, partly because I did not have so much time and partly because I did not have that much time to really thoroughly listen to a lot of releases. I intend to rectify that this year! I will probably be spending a lot of it listening to 2013 releases..

So...

My 2013 List: (no order)

Albums

Loved/listened to a lot

Paramore - Paramore (review)

Palms - Palms

Coheed and Cambria - The Afterman: Descension

Karnivool - Asymmetry (review)

Nine Inch Nails - Hesitation Marks (review forthcoming)

Pelican - Forever Becoming (am doing so since release anyway)

Anathema - Universal (Live) (really captures the energy of their live sound, gives the songs a new depth)

Steven Wilson - The Raven that Refused to Sing (more so after seeing it live) 

 

Liked

Nothing More - Nothing More

Austra - Olympia

Riverside - Shrine of New Generation Slaves

Puscifer - Donkey Punch the Night

Long Distance Calling - The Flood Inside

Birds of Tokyo - March Fires (some great highlights but maybe not as strong as their previous album)

Dead Letter Circus - The Catalyst Fire (ditto to Birds of Tokyo)

Amplifier - Echo Street

Wisdom of Crowds - Wisdom of Crowds

Mogwai - Les Revenants

 

Liked, but haven’t listened to that much (yet)

Mamiffer and Circle - Enharmonic Intervals (For Paschen Organ)

Altar of Plagues - Teethed Glory and Injury

Jesu - Everyday I Get Closer to the Light From Which I Came

Boards of Canada - Tomorrow’s Harvest (blasphemy that I haven’t listened to this much yet, I know!)

Sigur Rós - Kveikur

Jon Hopkins - Immunity

65daysofstatic - Wild Light

Russian Circles - Memorial

Cult of Luna - Vertikal

Fuck Buttons - Slow Focus

Chelsea Wolfe - Pain is Beauty

Man’s Gin - Rebellion Hymns

 

Not sure what to say about..

The Knife - Shaking the Habitual

 

Still need to listen

The Ocean - Pelagial

Tim Hecker - Virgins

Deafheaven  - Sunbather

Humanfly - Awesome Science

How to Destroy Angels - Welcome Oblivion

Intronaut - Habitual Levitations (Instilling Words with Tones)

Zozobra - Savage Masters

Locrian - Return to Annihilation

Red Fang - Whales and Leeches

Wolvserpent - Perigaea Antahkaran

Rosetta - The Anaesthete

Oneohtrix Point Never - R Plus Seven

Special Request - Soul Music

Forest Swords - Engraving

Holden - The Inheritors

Barn Owl - V

Fen - Dustwalker

God is an Astronaut - Origins

Krister Linder - The Great Surrender EP

Tegan and Sara - Heartthrob

Kylesa - Ultraviolet 

Tracks

Karnivool - We Are, Alpha Omega
Paramore - Fast in My Car, Ain't It Fun, Still Into You
Coheed and Cambria - Key Entity Extraction V: Sentry the Defiant, The Hard Sell
Nine Inch Nails - Various Methods of Escape, In Two
Steven Wilson - The Raven That Refused to Sing
Anathema - Thin Air (live), Untouchable Part 1 and 2 (live)
Nothing More - First Punch
Riverside - Celebrity Touch
Puscifer - Breathe
Birds of Tokyo - Lanterns, The Others
Dead Letter Circus - Alone Awake

Live
Cult of Luna
Ilosaarirock (particularly Nightwish, Pelican, Imagine Dragons, and Sigur Rós)
DJ Shadow (surprise to me too)
Steven Wilson
Karnivool 

Looking forward to in 2014
Mogwai
Have a Nice Life
Crosses
Sunn o))) and Ulver
Wolves in the Throne Room
Jakob
Amplifier
Mastodon
Old Man Gloom
Agalloch
Palms(?) 

Karnivool - Asymmetry (2013)

"Break the mold
Let's shake the ground
Wreak havoc"

I saw these guys live on their recent European tour and as the hours led up to it, I became more and more excited. Perhaps because I've liked Karnivool for a number of years, and since they are from Australia, thought it unlikely that I'd see them. I don't even remember how I got into them, possibly something to do with Cog (which I've reviewed previously). They also seemed to be in the exact opposite place that I was when they came to tour North America and Europe, but we finally ended up in the same city! They fucking killed it, tons of energy and the crowd (to my great surprise) was going crazy singing and dancing. I was pretty shocked to hear most of the club sing along to a song from their first full length album: 2005's Themata. Karnivool is five guys from Perth, Australia, which consists of Ian Kenny on vocals, Drew Goddard and Mark Hosking on guitar, Jon Stockman on bass guitar, and Steve Judd on drums. Though touring somewhat relentlessly in their home country, it took a few years for them to crack out of that and into the rest of the world. All of a sudden I was hearing about a US tour and a special release date for their 2009 album Sound Awake. This, of course was great news to me since I had liked them before that. It seems that Karnivool is making a name for themselves on the other side of the world. And with this year's Asymmetry out for the masses to consume, they continue their push forward.

 Upon first listen I definitely liked this album, but it actually took several for me to really fall in love with it, and when I did I fell hard. It is more challenging than the band's previous releases, but that only makes it more rewarding. Where Sound Awake had long songs, I felt a couple of them went on too long with not much gain, Asymmetry keeps them concise, even 7-8 minute tracks are fully worthwhile. Karnivool seems to have grown and come into their own with this album, at least it shows immensely on it.

The album begins with a somewhat ambient track 'Aum', which slowly brings your ears to the surface before beginning with the first proper track. As 'Nachash' opens, the music swells and crests, and though it doesn't tear into you, it easily sets the tone for the rest of the record. 'We Are', the album's single, is indeed a standout track. It has a chorus that sticks in your head and won't leave. But just because it's catchy doesn't mean it leaves behind its complexity. After 'We Are' comes to a quieter close, now is where Karnivool unexpectedly rip into you with 'The Refusal'. Here Kenny is practically screaming at you, we hear the almost fed up anger in his voice. Part like he's given up, and part like he is still hopeful for a future. The song changes between roaring vocals and softer, almost speak-singing lyrics. The album continues along the same lines we hear at the beginning, not to say it sounds the same, but the mood is relatively constant. I see this as an asset however, giving Asymmetry cohesion (perhaps an oxymoron here). Every song is quite strong in my opinion. Including the last full track 'Alpha Omega', though clocking in at almost 8 minutes there isn't a moment wasted to get the idea and message across. Though the mood is quieter, it makes the lyrics more powerful for the listener. When Kenny, with all his conviction, tells you repeatedly: "This ain't no ordinary life" - you believe him.And though his lyrics don't always shine with incredible beauty, they ring true, something that should also be praised.

Though classified as progressive metal, Karnivool has an extra kick in their step that you don't hear from some other bands in the genre. They form together well, and though Kenny's voice is the leader in the dance, the members ebb and flow perfectly with their instruments. Strong songs make for a great album, and that is what Asymmetry is. It shows no weakness at any point and takes the listener on a worthwhile journey.You can feel the singing and instruments playing around you as you listen, this album has depth to it. An excellent third full-length by this Australian band. I'm almost too engrossed in this to even wonder what's next for Karnivool.

Paramore - Paramore (2013)

 

"Lost the battle, win the war
I'm bringing my sinking ship back to the shore
We're starting over, we'll head back in
There's a time and a place to die but this ain't it"

Oh, Paramore. I can admit that I think you are awesome. Your songs are catchy, pop-rocky, a little bit angry sometimes, a little bit sad others, and just in general really fucking enjoyable. I first heard 'Misery Business' from 2007's Riot! on Guitar Hero. Yep. This song was my gateway drug in to your music. The addiction came to a new level when I heard 'crushcrushcrush' off the aforementioned album. From Riot! I explored All We Know Is Falling (2005). I fell hard for Hayley Williams' vocals and lyrics with guitar (formerly Josh Farro/now Taylor York), bass (Jeremy Davis) and drums (formerly Zac Farro) backing it up. Though maybe only minimal growth between these two albums, I still think these songs are great and listen to them occasionally. They were able to keep my attention, until, in 2009 Paramore released Brand New Eyes. This showed a real progression for the band in general, and particularly for Hayley as a vocalist/lyricist. There was no longer only one volume on the record, but a more vast dynamic range all around. This was actually no longer just a catchy band, but an interesting band that could hold their own. Clearly they were writing good music that served as radio hits but also had something more to it. I had Brand New Eyes on repeat and still take it out frequently. Cut to approximately a year later where the Farro brothers leave the band in a rather dramatic fashion - making a blog post about their struggles to have more say in the music and painting Williams as the sole controller and focus of the band. Whether there is truth to it or not is irrelevant to me. Now only 3: Williams, Davis and York, forged ahead anyway as the new incarnation of Paramore. I wasn't too worried since, as per usual, what I liked most about Paramore was the vocals of Hayley, but of course I was curious to where they were going to go next and how they were going to follow up Brand New Eyes. In summer 2011 they released a new single: 'Monster'. Practically a 'fuck you' to anyone who should question their commitment to the band and making music, and a promise to fans that they would continue to be Paramore. A phenomenal song (which I have probably overplayed but am not tired of somehow), with lyrics "I'll stop the whole world from turning in to a monster and eating us alive". They continued in the fall to release 3 additional songs for their 'Singles Club'. Another 3 amazing tracks that I also couldn't get enough of. Needless to say I was entirely psyched for the new album, expecting it to sound along these lines. A small step up from Brand New Eyes and with a new found defiance and energy to them, I was satisfied. It was not until April 2013 however, that the 3 members of Paramore (with additional drummer Ilan Rubin, also of Nine Inch Nails) released their self-titled album. I was looking forward to it of course, but it was nothing like I expected. In fact, it was infinitely better.

If Brand New Eyes was a large step up from Riot!, this album is on another planet entirely. Still distinctly Paramore but with so much more. They tried out many different styles here, and it worked. In an interview Williams describes trying everything once and seeing how far they can take things on the album. This is certainly true. Each song is a gem in its own special way, and each song is very special. Consisting of 17 songs and running at about an hour, this is already a pretty intense album for Paramore. Though 3 of these songs are interludes, they can still stand on their own pretty well. Here we hear more dynamic range, more interesting music, and Williams maturing as a vocalist. You don't feel like she's screaming out any more. The lyrics even focus on this fact, song 'Grow Up' for example: "Some of us have to grow up sometimes And so, if I have to I'm gonna leave you behind". Interludes 'Moving On' and 'I'm Not Angry Anymore' say this in no uncertain terms as well, and 'Ain't It Fun' tells of living on your own and taking care of yourself. No more high school drama for Williams, she's living her adult life now. There is some focus on their new incarnation as a band, as is to be expected. But it's a nice thing to hear they are moving on with their passion for music.

Though the tracks may sound like they take on a more serious air, there is still plenty of fun mixed in. In fact 'Ain't It Fun' is a real foot tapper, with some Motown channeling at the end. The love song 'Still Into You' (and the album's second single after 'Now') has an upbeat vibe to it that makes you want to sing along and rock that air guitar, it's a fun, feel good song by the band. Opening track 'Fast In My Car' catches your attention with its quicker beat and 'Now' is another energetic track focused on looking ahead to the future.

Though all the tracks stand out for various reasons, one of the most interesting songs for me (though not necessarily favourite on the album) is the closer 'Future', clocking in at almost 8 minutes. Which is insanely long for a Paramore song, with most being around or under 4 minutes. The track ambles about a bit, hitting different styles and finishes the last two minutes in what I would describe as a post rock style. The first time I heard it I thought my music player had switched to a different band entirely (This Will Destroy You was my guess at the time), but nope it was still Paramore!

In general the band's new self-titled is polished, mature, interesting and actually continues to offer a lot with each listen. It is less one-dimensional than their previous efforts, while remaining true to the sound of Paramore. This time around they bring a lot more styles and sounds and it seems they've really grown as a band. Normally I wouldn't say that a Paramore album should be so respected but what they've done here is beyond what you would come to expect from these 3. Awesome album and kudos to them! Seems it's already getting a lot of praise, as it should. I have a feeling it's going to be the pop-rock album of the year for me (not that I listen to too much of that stuff but you know).

Deftones - Koi No Yokan (2012)

"We're alive somewhere else Still asleep someplace new"

This album has been out for a few months now, and I finally feel that I have something to say about it. I don't quite remember how I got in to the Deftones... Possibly it started with White Pony's (2000) song 'Passenger', which features Maynard James Keenan on vocals with lead vocalist Chino Moreno. This is still one of my favourite Deftones songs, possibly one of my favourite songs ever actually. I think these guys are one of the bands that I listen to that have shown a very clear progression. Not just changing it up between albums but progressing to a new space while building on the previous sound. They also do not need too much of an introduction in my opinion. Formed in the late 80s and with 7 albums currently out, Deftones consists of the aforementioned Chino Moreno, Stephen Carpenter on lead guitar, Abe Cunningham on drums, Frank Delgado on keyboards, Chi Cheng on bass (though sadly, he remains in a coma and is currently not with the band - good vibes to him and hope that he recovers!!), therefore Sergio Vega is the current bassist. This is a band that is still made up of its original members, quite impressive and rather rare I'd say. Perhaps this solidarity is what contributes to their perseverance, dedication and well, being awesome at music. Though typically the genre thrown around with the Deftones is some form of 'metal', for example 'alternative metal', it's still hard to pigeon hole them in to a singular spot. And with influences/favourite artists that range from Duran Duran to Lynyrd Skynyrd to Helmet and all that is in between, it's easy to see why they may not fit in to a particular sound. From crushing metal to soft rock, their sound can vary between moments in the songs themselves. This makes them an exciting band to listen to, you are often never sure what to expect on the first listen. Of course, their back catalogue is worth listening to, each is a strong album in my opinion. Though I prefer their recent stuff, it seems a bit more polished while still maintaining the raw intensity that the band is great at translating to an album. White Pony (maybe not so recent since it is now 12+ years old..) is frankly an incredible piece of work, pretty much the quintessential Deftones album.

Koi No Yokan translates to 'Love's Premonition', hardly a title you'd expect from an arguably "dark" band. But perhaps if you take it in context of the fact that it is the follow-up to 2010's Diamond Eyes, you can see why. After Cheng's accident in late 2008, fans maybe expected an angry, rough album from the Deftones as they continued on in the meantime. However, what came out was a powerful, almost triumphant full length. It was as if they were saying, "yes we're still here and life isn't over yet, so we'll pull through for our brother", they showed their true colours through their music and they didn't give up because they knew that's what their bandmate would want. (This is of course just the feeling that I get from listening to the album, to each their own, and Diamond Eyes isn't an ode to Chi, at least not overtly, it's still just a killer album). This was all after temporarily (hopefully) putting away the recorded album Eros, and recording a whole new album instead. But more than 2 years later the band continues on with Vega on bass while Cheng recovers, and releases Koi No Yokan. I read a few reviews of this album just before the release date and saw that it was being compared to White Pony, thus getting my excitement up even more. With this album, it's almost as if they continued on the powerful path of Diamond Eyes but had the cohesiveness and focus of White Pony.

Like Diamond Eyes, Moreno's voice ranges from confident and loud to soft and reflecting. To me the lyrics aren't so important from this band, and Moreno has stated that he makes them deliberately ambiguous. He has a special talent for conveying emotion without the weight of important words behind them. You probably don't know what he's feeling but you can take a lot out of it nonetheless. What he's saying isn't so important but how he says it gives meaning to how it makes you feel. With Chino at the microphone an innocuous phrase can become a powerful statement. And though I don't necessarily get the feeling of joy on this album, it carries with it a certain feeling of strong will.

A Deftones album is hard to describe, because it's just the Deftones doing what they do best. And this is no exception. Of course any fan will be pleased with Koi No Yokan. For me this is a continuation on the Deftones progression, the next step after Diamond Eyes. They perform with vigour, integrity, emotion, and power. It's the Deftones of 2012, and it's pretty fucking great.

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.