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.