David Barnes delivers again with the album art
Following the release of one of 2008’s best albums Skeletal Lamping, Of Montreal recruit Mr. Everything Jon Brion to mix up some of the albums better tracks. Having worked in the past with Elliott Smith, Kanye West, and Spoon, and also helping produce the soundtrack to Boogie Nights, Eternal Sunshine, and Magnolia Brion certainly has a hand for crafting magnificent tracks. So my hopes were undoubtedly high for those various reasons.
Disappointment from Of Montreal, however; is few and far between. Any band that covers “Day Man” is in good regard for a long time. This EP follows in that pattern pretty well, delivering to fans of the LP some pretty good material that’s a little more ready for the dance floor than the original recordings. The one downfall of this release is that it really doesn’t offer much in the way of anything “new” at all, like I said, the tracks just get a nice shape up for dj’s planning to play their most sexually explicit set of all time.
The reconstruction of “An Eluardian Instance” really doesn’t deviate from the original at all, but what it adds in the repetition and tempo change is welcome. The acoustic version of Eluardian though is quite a treat. The track isn’t stripped down to its absolute bare bones, and I might dispute calling this “acoustic,” but the slow rythm brings out the beautiful voice of Kevin Barnes and more importantly the lyrics become more apparant than ever. And what is Skeletal Lamping worth without the lyrics? Not much.
“Gallery Piece” gets the Brion treatment next, and the last three tracks all play off the same cut. Including the remix and the extended remix is an instrumental of the remix. It’s an exhausting task trying to listen to all three of these front to back, taking away from the feel of this actually being an EP rather than a single or a 12″. The original remix is great though, and it’s definietly the higlight. This cut gets the biggest mix treatment, shortening from the lengthy album version to a more friendly version that plays pretty quickly. The extended cut repeats itself so much that it’s almost annoying to listen to after the five minute mark, but die-hards will still love. (I kind of still did).
If you listened to Skeletal Lamping and loved it, or maybe even just liked it, this EP should definetly be in line for a purchase. The tracks are fun and play fairly fast, catering to the busy lives we all lead. So save some time, practice your dance steps, and come 200 times a day with the Jon Brion remix EP.
7.5 sexual escapades out of 10
Noise music is such a very different type of beast to review. The absolute lack of structure and conventional “song” characteristics can make it impossible for some listeners to digest while other listeners may thoroughly enjoy the instrumental experimentations and interesting nuances that are laced throughout most releases of this nature. Do I attempt to review the music of a noise CD as “good” or “bad” in the context of accepted opinions, or should I simply try to describe the nature of the sounds that I heard and let my reader make up their own mind about the value of those sounds? When talking about one of the genre’s legends, Japan’s 
Whether it’s to fulfill their ego and take over the world, or maybe that they actually do have that much musical creativity. Who knows why musicians jump from group to group trying to juggle three projects at once while disappointing fans who have been waiting for that new album release from one of the three bands. Anyway, it has happened again, this time with some of the lesser known parts of indie rock’s most popular.
Bon Iver’s Sophmore effort, following the magnificent 2008 release “For Emma, Forever Ago” changes pace in certain spots, trading the beautiful vocals for Weezy-esque auto tuning. I know, a big step (forward or back?) for a guy who was so unbelievably harmonic and damn near perfect on his first album. As far as the auto tuning goes, and if those tracks are successful or not, it’s sort of a wash. The scratchy guitar and minimal backup instruments still amaze, despite being slightly repetitive of the first album, but the vocals bring down what would otherwise be an amazing EP. “Woods” and “Babys,” the two tracks the Justin Vernon goes lil wayne on your ass, are the low point of the album, like I mentioned, but the other two tracks, “Blood Bank” and “Beach Baby” pick up exactly where Emma left off. The title and lead track “Blood Bank” is arguably Vernon’s best track to date, drifting along with beautiful vocals, heart-wrenching lyrics, and the usual acoustic minimalism. “Beach Baby” sounds like something from an old Pet Sounds cut, and while it obviously isn’t, it again changes pace a little from the usual back-woods Wisconsin folk. Dropping the vocals and picking up the pace of the song a little bit, Bon Iver takes a short little trip down instrumental lane, if only for two and a half minutes. 
Death metal, black metal and doom metal – to an outsider of metal, there’s little distinction between any of these labels. To a knowledgeable listener, though, these terms take on a new life. These are weighty words known to describe the most extreme of all metal music. Each of these underground breeds of metal specialize in their own flavor of assault – from the brutal riffing of death to the overwhelming atmosphere of black metal to the bleak, plodding heaviness of doom. In recent years, metal fans have benefited from a sea of bloodthirsty new bands that are pushing the extremes of these styles to an incomprehensible degree while each is trying to make their own lasting mark on genre. One of of my favorite recent releases of this kind is Horoskopus, by Seattle’s 
I have to start this post off by saying that this is an album that I found out about way too late. If I would have listened to this album last year right away when it came out I can guarantee that it would have made my top 5 last year. The chemistry that is shown on this album is absolutely amazing, somewhat similar to a Guru/Premier (
Nachtmystium put themselves at the forefront of underground metal this year with an album that I could not stop coming back to. Assassins is an album with an eerily classic vibe, beautiful production, and some of the most memorable songs I heard all year. After the epic Worldfall EP release in the beginning of the year I had an idea of what Blake Judd and friends were brewing up, but nothing could have prepared me for the behemoth mindtrip of venomous hate that Assassins embodies. Half of the beauty of the album is its successful implementation of the meandering experimental jazz structures (which are also prominent on the Pink Floyd album that inspired the concept) and the other half is in the sheer brutal, epic, headbanging collections of riffs that this release features. From anthemic black metal to epic psychrock to acidic punk rage, Assassins shows the band lining with the stars to create an album of the most soul wrenching metal songs of the year. Clearly, the USBM scene has been a breeding ground for some of the most interesting innovations in metal over the last few years, and with releases like this continuing to crush conceptual and musical boundaries, it will only be a matter of time til this band and its peers get the respect they deserve. With Assassins, Nachtmystium have created the perfect vehicle to deliver an American wave of raw hate and reality to the rest of the world.
On Smile, Boris have found their most enjoyable phase of their ever-shifting psychedelic metal sound thus far – at least that’s my opinion. Tonally, the album is gorgeous, and Wata’s out in full display with an arsenal of riffs the makes me quiver every time I listen (I wouldn’t be surprised to find out that the ghost of Hendrix teaches her how to play guitar in her dreams at night). The sludge and solos are convincingly emotional and imaginative, and the whole album is tied together by lo-fi interludes and psychedelic jams that evoke a peculiar sense of innocence. Smile is an album that sees the band finally achieving a balance between the wide array of noises they have perfected along the way. In the Boris fashion, fuzzy stoner epics and spastic thrash anthems feel perfectly at home next pretty acoustic interludes and pop hooks. Doom/stoner metal is not an easy genre to make “fun”, but Smile’s uninhibited metal jams allow Boris to make an album that does just that. Put the album on, look in the mirror, and you’ll see it lives up to its name.
Every twist and turn of obZen is chaotic and unpredictable; riffs that seem like they could shred flesh command across a backdrop of some of the most rhythmically challenging percussive pieces ever written. While it would seem contradictory, Meshuggah is more in control of their sonic circus than ever. The song structures are all extremely unfamiliar and complicated – even for death metal – but the emotion of the album is confident and focused. With each successive track, we are witnesses to spectacular feats of cohesion and power. Although it might feel like a rollercoaster that is about to go off the rails and crash at times, obZen is an unstoppable beast – solidly, steadily barreling along like a high speed, hot-rod modded steamroller to hell. As with past albums, the mind bending experimental flourishes are the root of Meshuggah’s appeal, but obZen’s true power lies in its full force its brutal attack.
With the high expectations preceding this release, there was no telling whether the French progressive death metal quartet Gojira would attempt to return to their heavier, traditional death metal roots or proceed on with their ambitious mind-expanding conceptual ways. As the followup to the highly praised From Mars to Sirius, The Way of All Flesh is an album that satisfingly/amazingly accomplishes both. Death and thrash with an intricate, wicked percussive section is still the driving force, but they’re pushing boundaries even more this time around – especially on mindtrips like “A Sight to Behold” and “The Silver Cord”. In truth, Gojira has created an album that might be hard for them to top or perfect upon. Their progressive conceptual basis hits closer to home than on any previous release, and meanwhile all I seem to care to do is thrash violently and headbang to the infectious chaos that unfolds around me with each fresh listen.
It’s almost as if they knew their days were numbered when these songs were put to tape. Cursed’s final album, III: Architechts of Troubled Sleep, features the most riff heavy, “pedal-to-the-fucking-metal” hardcore of the year. Their Entombed meets Converge meets Amebix assault of fast and furious dirty hardcore has never sounded more pissed off, and thus appropriate. As their final farewell, this album leaves a refreshing sting. Truly, this IS the loudest band in Canada, and III is an album that boldy and violently shreds any illusion that you might have that your world is safe.
How is it possible that a trio can sound so intimidatingly massive and powerful? When its comprised by the Brazilian death metal brethren known as the Koleshen brothers, there’s no debating the scale of attack! Much of the album is powered by the artillery-heavy blastbeat attack that Krisiun is known for, and these riffs are fucking heavy. Songs like “Slaying Steel”, “Combustion Inferno”, and “Bleeding Offers” command rage like no other death metal this year. However, this time around, the bands brand of vicious death metal is inexplicably both more precise and head-bangingly enjoyable. The riffs breathe and move with a kind of ferocious freedom that evokes a beautiful sense of real fear on songs such as “Minotaur”, “Contradictions of Decay”, and “Sons of Pest”. Not to mention, great production too! When this comes through Minnesota live with Destruction in March, I hope to see the most brutal pit imaginable!
For anyone who hasn’t noticed, heavy rock is back in a big way this year. I don’t really know what has caused it (..Guitar Hero, most likely..), but either way, I’m not complaining about the sudden influx of authentic ass-kicking riff-heavy rock that has reared its head lately. With that said, Harvey Milk’s Life.. The Best Game in Town is the most awesome and enjoyable album that could possibly fall in this classification this year. Life is an ambitious album of Harvey Milk’s heaviest tunes yet. From bluesy bass lines to infectious, boot-stomping riffing to drugged-out unearthly epics; its a bewildering ride that you’ll be glad you took.
Perhaps it was purely my aforementioned love of Brazllian death metal that drew me to this release. After all, the core of this band – the Cavalera brothers – comprised the heart of the prodigal early 80’s Brazilian death metal band known as Sepultura; a band that would help to ignite a pride for death metal throughout the country and change the way the world saw extreme metal from that point on. Either way – all past grievances aside – it’s great to FINALLY see Max and Iggor jam together again, and having Joe Duplantier (of Gojira) and shredder Marc Rizzo at their side doesn’t diminish the bands’ appeal to me, either. This album is as raw, brutal AND (most importantly) fun as it was presented. Max and Iggor are together again, and while it’s not called Sepultura, is a brilliant listen that indicates an impassioned and bright future for the brothers.
If you asked yourself where all the sick and twisted grindcore bands were at this year, it’s probably because most of them were probably hiding in shame from the firestorm that is Cycles by Rotten Sound. The album is an aggressive display of the most visceral blasting noise of the year. On Cycles, Rotten Sound are masterfully churning a brutiful molten metal stew from genre luminaries such as Napalm Death and Nasum and their own injection of Finnish grit and grime. Perhaps the reason that I loved this record so much is that its a grindcore album that plays more like a rock album. The dynamics are a step above any grind I’ve ever heard before, and as such I’m replaying this album more than any other this year.
Sweden’s Cult of Luna have really upped the ante with their newest album, Eternal Kingdom. Much heavier than their previous release, this is an album continues to greatly improve on their impeccable brand of post/doom experimental metal and hardcore. Ambitiously abstract and surreal, Eternal Kingdom is an organic album of nuanced experimentation that is everything we could hope for from the band.
All things considered, we were plagued with some very awesome metal tours this year; At the Gates and Carcass both reunited, Metal Masters 2008 united some of the best names in classic metal, and plenty of smaller bands were on tour to satisfy my tastes (including an unspeakably awesome post-Pitchfork showcase show with Nachtmystium, Torche, AND Boris). However, I’d be lying to myself if I denied the honor of best show of the year to the reunion of Max and Igor Cavlera. I was giddy as a schoolboy when I found out that they had reconciled their differences and reunited, and watching their show in Maplewood sidestage next to Dillinger Escape Plan was the highlight to my year. For the entire night, the Myth was moving in a circle, and for good reason. After two months on tour, Max and Iggor had coalesced into their impeccable groove machine and hit the stage with seemingly more fire than ever. The twenty one song set was anchored by 12 of the best Sepultura tracks known to man; Refuse/Resist, Biotech, BTR, Arise, Propaganda, DEC, Troops, Territory, Roots..peppered throughout by choice cuts from the new CC album. What more do I need to say? On this night, Cavalera Conspiracy showed that heart of Sepultura still beats strong, but it’s only that it’s been transplanted to a new body.
Two great gritty bands team up for an exciting two track LP that showcases their strengths. A great listen for anyone who a) enjoyed Disfear’s newest raw release of d-beat noise rock B) is interested in what a new Doomriders 2009 album will sound like (hint:\m/ DOOMROCK \m/) or c) needs an introduction to either of these awesomely heavy bands.
Tombs caught me completely off guard earlier in the year during a performance with Rosetta; next to the other bands that night, I was amazed how alive and maniacal the power was behind this trio’s noise. After the release of an LP and split that take post-metal in a darker direction, I’m very happy for their signing to Relapse this year and am really looking forward to their 2009 debut (tentatively titled Winterhours) with the label.
These are the bands who called it quits this year that I am particularly sad to see go. It seems like the perils of the world have taken a hard toll on a lot of bands this year; from high gas and food prices to increasing competition for young fans, underground bands have suffered. However, in the future we’ll hopefully be seeing members from these bands surface in other projects, and I’ll have my fingers crossed for inevitable reunion shows. Heck, I already found out that one of my favorite local bands (Blue Ox) has absorbed Logan from Dead to Fall, so I’m optimistic about the possibilities.
Lullabies from paradise, this music is! No doubt, Vampire Hands’ new album is the most enjoyable rock ‘n’ roll album I’ve owned from any location in quite a long time. This Minneapolis group excels in blissful, uplifting, psychedelia and unsettling ambience that soothingly eases that body and mind.
The whole Doomtree clique was on fucking fire this year. Seems like everyone was releasing solo albums even during the midst of their amazing new collaborative album and some incredible live shows. With groups like this continuing to push limits, Minneapolis will remain an underground hip hop hotbed until the rest of the world truly wisens up..
MIND INVERSION 