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!