Kanellos - Destroy music // NMMREM XXII

I have been curious about Kanellos since I spotted the track Assassins in the sky in Fuck your speakers vol. 2 music collection. It is among the best material on those 2 cd's I listened and reviewed.

Sure enough, I finally bumped to a Kanellos release. Destroy Music is his fourth release, making switch to a new ground, Sirona-Records when the previous releases by Kanellos have been released on Dramacore and Glitch City. Both labels which I can recommend as they have some truly great stuff in their catalogues.

Like so often I did not know what to expect from the release. And sure enough, peculiarities lied in await for me. I had to double and triple check the genre of the release to figure out what exactly I am listening. One of the main genres is supposedly Hip Hop but I have never heard Hip Hop like this. Especially as it is completely instrumental. Is this some sort of Ambient Hip Hop? That cannot be a genre.

Second track In a breath sounds like its recorded in an echoing hall with something between you and the sound taking away the "top" of it. It is for sure a peculiar feeling and switch of the sound after the intro Gouvernementalité. When Gouvernementalité has an epic lead melody and something to grab on In a Breath fittingly seems to blow by you with harmonies that float around and just manage to avoid contact.

Lie in Wait a short spacey ambient piece leads to the main goodness of the EP. Calmingly ominous All Broken has a tasty beat and atmosphere to spare. Infectious, lovely dirty overpeaking. Groovy Yanqui follows and doesn't notch down the quality. It takes some of those spacey ambients introduced in Lie in Wait and places them in a sandwich with an organic beat, and munchy, almost sexy bass riff. These two tracks, especially All Broken sound like Kanellos could be a great pair with the underground rap group SDSA; and their suicidal hiphop lyrics.

Like the end of All Broken also Yanqui transforms towards ambience and flows into a distortion space-hymn which is naturally followed by more of cosmos in the title track Destroy Music. It is a very FluiD (pun intended) transformation and indeed, does remind me of the album Envisioning Abstraction: the Duality of FluiD.

More surprises; space-hymns flow on to the final track No One Left, which supplies distant guitar and piano melodies (?) and suddenly a catchy rhythm. With all the different sounds Destroy Music equips, it proves that good old craftmanship is not dead, and leaves a lasting impression.

"The passion for destruction is a creative passion" - Mikhail Bakunin

8+/10

Free download: http://archive.org/details/Siro584Kanellos-DestroyMusic

Yacht - See Mystery Lights // NMMREM XXI

Spelled "Yacht" but pronounced "Throatwobbler mangrove"

This blog is really based on free download releases. But since lots of people are in the false impression that free download releases are shitty, and major record label releases are better. Exception confirms the rule. This time as a review there is an actual cd-release (ooh!). An album that I randomly bought from Norway in 2011. 

The album in question is Yacht, a duo from Portland, Oregon and their 3rd full length See Mystery Lights released in 2009. I bought it cause it was cheap, but also the artwork was nicely minimalistic. Only later noted that it actually reflects light when looking at a right angle forming bigger and smaller triangles! Extremely cool.

I really had some hopes of this album after digesting the cover arts. Yacht also has a huge amount of listens in Last.fm (3,5 Million) and all of the tracks of the album in question have over 50 listens last week. But Yacht's See Mystery Lights is a mostly an annoying release. First time I lasted only 2 songs before the reek of trendy indie hipsters became overwhelming. Some 5 more times I urged myself to last the whole album because at least, it is varied and experimental enough to keep me well awake at work.

Album kicks off with a fine build up and a cool odd guitar melody, but unfortunately it proves to be the best melody of the album. The first song Ring the Bell does transform and could go to places but semi-annoying vocals and a stupid chorus keep it on the ground. I hope you go to hell. 

Next track The Afterlife introduces the female vocals. I do not digest them; at all. In fact the vocals ruin the ok sounding backgrounds. The singer sounds like a cheap bootleg version of Finnish-American singer Vuk; but fails. 

The third track I'm in love with a ripper puts in a steady and cool beat, effing up the second most promising track start. Only to become fucking annoying at 18 second mark with the terrible shout background effect. While I approve experimentations with vocal samples more than anyone, this is just not a beat/sample combo that anyone should put on repeat. Sounds like humour music but its not funny. It sounds very juvenile. But hey, the kids may dig it...

The album does have more cool ideas and odd breaks, but even more ideas that have a reek of indie hipster pseudo-intelligent oddness in them. Also very annoying vocal melodies and god-idiotic lyrics. For example Psychic City which does not really seem to go anywhere. It is really a shame cause the lyrics sound interesting for a few verses. Then it goes idiotic. Have you ever heard a humming melody "aai-aai-ai-aa" so without emotion and colour? No I am wrong it has colour. It is SHIT-BROWN, one of the most annoying vocal melodies I've ever heard.

I've spotted multiple comments of this being a "fun" release. What exactly is the fun of this. Tracks are not dancable, their lyrics are at best average, and usually sub-par + cheesy. The funnest song is probably Summer Song which cannot have been made seriously. The track has a sense of irony in it, as it is probably the darkest track on the release. The lyrics urge: "move your feet to the summer song" and it is absolutely not-danceable. The band makes sure of it by dullifying the rhythm when it seems to become danceable. I'm not sure if its intentional but it is pretty funny.

The only decent showing of the female vocals come in the minimalistic and short version of Psychic City, where she sounds actually good in a noir-bluesy way. Probably cause in this track she is actually forced to sing in her own voice and not trying to sound cool amidst compositions that should not exist.

Third of the three tracks that don't make me want to tear out my hair is the combo track It's Boring/You Can Live Anywhere You Want. And it really is repetitive and quite boring, but it at least has a post punk vibe and decent vocals. It might be a homage to old Killing joke, which usually is pretty damn boring. But a lot better than Yacht, thank god.

The sounds are actually solid and lots of random odd and stupid ideas are thrown into songs. You can hear that a lot of creative effort has been put on See Mystery Lights. But overall; I really don't get the point. If I wanted to dance, this record would make me sit down. If I want to listen music I prefer not to get fucking annoyed by it. To summarize i'll quote Yacht's song We Have All We've Ever Wanted: 

"I don't know so I ignore you". 
"Protect yourself from digital decay".

1/10

Alex Spalding - I'm Going to Die // NMMREM XX

Listening Alex Spalding's newest effort I'm Going to Die based on his previous solo album Amos in Flames, may come as shock. The gentle electronics of Amos in Flames are gone and as a replacement, we have vast, heavy industrial. The sound doesn't have a pinch of humanism in it. It is more reminiscent of deteriorated buildings rising from a deserted Soviet town. Harsh electro assault with some noise elements, dark beats, lots of dynamics and occasional melodies. I dig!

The beginning of the album is such a middle finger, Driver is a suitable intro with its harsh electronics but second track I'm Going To Die seems to be the real driver there, as it for sure will drive a lot of listeners away. The third track Re-program is what really starts the album. Judging by the trackname even the artist seems to be aware of that. In the half-way of the song the harsh beat and beeping suddenly halt to an ingenious noise-assault break which leads to an evil groove straight from the top. If you turn death metal riffs into electronic beats, this is what it could sound like.

Another notable track follows soon. Ugly with its more multidimensional evil groove. My favourite of the album. Very Alex Spalding-like a few very short, ok fillups Ender and Samäel balance the way to Bizzy In The Mix. An almost 6 minute track. It holds its ground remarkably well, shifting enough to stay interesting. Surprisingly enticing, or like my girlfriend blurted while wandering in the room: "sounds like robots having sex". The strong middle album is completed with Gridlock, its most notable feature; a brilliant groovebassline!

I needed some pictures to spice up the review
so here's a diagram about the best times
to listen Alex Spalding's I'm going to die

After Gridlock the quality doesn't go down notably, perhaps it is surroundings which become familiar as most of the rest float through without boring and without boring itself in memory. Except, goodness on the 10th track, Robotics, and the centerpiece of the album (more like fuck-you-piece) I'm Going To Die (Full Version). Not bad for a 23 MINUTE NOISE TRACK, but I cannot see how a 23 MINUTE NOISE TRACK wouldn't be skipped when I'm enjoying my industrial.

The sound, and the beats are enjoyable, but the problem is, it continues all album long. The album would love a bit more variation, like the organic bass line of Gridlock, or eardrum busting à la Re-Program. Not surprisingly the best tracks come from the beginning.

If you are into dancing in factory halls with your gasmask on, while stabbing cybergoths in the face; this is your stuff. Or if you'd like to hear how close to Metal electronic music can be, try it out. The industrial metallish tinge brings in mind the degradiation of Eastern block at its worst. Decline is beautiful. I heard in Ukraine there is a festival in an old Nuclear power plant. Maybe someone should book Alex Spalding?

7½/10

A Free download album as always: http://archive.org/details/SPNet076-AlexSpalding-ImGoingToDie (only 56 downloads are you kidding me?)


Track-by-track

1. Driver
Beatwork seems to be just emerging, a fitting sound for an intro. Thematically brings in mind Kanellos' In A Breath (http://archive.org/details/Siro584Kanellos-DestroyMusic; to be reviewed soon). Like the beat is behind something taking the top out of it.

2. I'm Going To Die (LP Version)
Short enough to listen, still skipping it half of the time but it also provides a giggle now and then.

3. Re-program:
First it is catchy, then it busts your eardrums with noise, you may feel angriness rising up, but it is very shortly turned into aggressive euphoria as the next beat is even catchier. The beat switch with a noise-assault break in between is ingenious.

4. Ender
A good progress to a beat and a melody, but simply worse than Re-Program and Ugly.

5. Ugly:
Multidimensional evil groove explodes near one minute marker to a 3D headphone experience.

6. Samäel
A Random idea thrown in the midst.

7. Bizzy In The Mix
Robots having sex.

8. Gridlock
Bores in the beginning but then a groove bass bores itself in. Through all industrial layers it sounds absolutely wonderful to hear some organic-like instruments.

9. Stabbing Death
Very odd, Alex Spalding's fetish for noise is apparent on this one. Lots of heavy steelwork.

10. Robotics
A robotic noisevoice seems to repeat my first name!?! Possibly for this, Robotics takes its place on the top of the album.

11. Gauge
Very beat oriented. Beat as a main drive and melody. I feel the beat is a bit alone, it might fancy a helping hand. Still works and surprises await.

12. Rotting
Great flow from Gauge, its aborted little brother.

13. Alex Spalding - I'm Going To Die (Full Version)
The centerpiece of the album. 23 minutes of noise, more like fuck-you-piece. I sat through it once, was entertained, annoyed and laughed. Good times. Never again. Funnily in this noise track there is a catch! A repeating "chorus" sort of! Voice repeating "I'm going tooo diiiiieee" at probably 50 times during the length of the track. I find myself trying to sing along with it but the voice cuts of abruptly half the time. Works well listened a few minutes at a time randomly.

14. Colder Than You
Ambience, steel girder tamping while grand factorylines mechanically move on... Over 5 minutes but I never have any hurry in skipping it. On the other hand I can never recall what happened in it either.

Glanko - Telekommand EP // NMMREM XIX

Glanko, classified as IDM (short for intelligent dance music) did not gain my interest with the genre title. I very rarely enjoy dance music. With the track 9003 (/w mote) on my Facebook wall by Pollux I thought I need to give it a listen. Boy was I surprised; 9003 sounds like it is from a movie, assessing melancholic violins and orchestrations in a mellow ambient and rather organic atmosphere. A thrilling neoclassical track, but nothing like the rest of the album.

Purely electronics driven; first half of constantly glitching; wonderously mystical Maikurofomu CC walks a tightrope and slips off balance only to regain it with a somersault.

Second track Telekommand A has probably the best hook of the album, with the bass line at 2.50, peaking already at 2.55 to the sudden glitching bassdrop. Many times have I found myself humming this bassline, along with the bassdrop after listening this EP. It is a shame, in reality the best hook of the album, is never repeated. But the strong bassline stays there for quite a while and mildly changes form constantly. As if there is one thing that Glanko's Telekommand lacks it is memorable melodies and hooks. Telekommand is a very enticing entity but it doesn't have jaw-droppers except a few individual moments and the fourth track, 9003 (w/ Mote). When 9003 (w/ Mote) is pure 10/10 material the rest of the album fades into 8/10 territory.

It doesn't mean it is not a strong very original entity with a high base level. The mystical atmosphere stays intact; melodies and mixtures of sounds I've never heard anywhere else. There are a lot of stuff happening beyond the surface. Kudos to the artist for not overpeaking the tracks and allowing an extreme volumedose!

9-/10

Free Download: http://archive.org/details/siro570Glanko-TelekommandEp

Once Were Ghosts - Transient Silence // NMMREM XVIII

Once Were Ghosts is a post-rock project originating from Las Vegas. When Las Vegas always brings in the image of flashing lights extravaganza, constant motion and hectic surroundings, Once Were Ghosts might be placed in this abstract moment when the city sleeps. Suitably Transient Silence clocks only a pinch under 7 minutes, the short wander you can make in deserted alleyways seeing shut down light signs, before everything bursts to flame again.

Transient Silence is driven by beautifully crafted guitar melodies setting the atmosphere high immediately. Imagine those November nights when it is raining, windy and cold outside and you are warm inside under the linen covers sipping warm blackberry juice and reading a book. The guitar melodies are accompanied by a drum machine which is a bit over the top, drums being a lot faster and technical than the guitars. Drums still manage to sound good but no doubt they aren't the perfect par for the stunning guitar lines.

The shortness of Transient Silence is also a charm as it is easy to listen 2 or 3 times. Especially the first 2 tracks are top notch melancholic post rock, bringing in mind the strongest outputs of Escape The Day and This Empty Flow. In only 7 minutes it is hard to give yourself up to a complete flow as you know the fun is not going to last for long, but nearly every time Once Were Ghosts takes me over on the very first notes. Give this one a try, it is one of the best 7 minutes you'll spend.

9/10

Free download: http://archive.org/details/siro442OnceWereGhosts-TransientSilence

Lauren Bousfield - Locked Into Phantasy // NMMREM XVII

One of the releases I've been most anticipating this year is here, Lauren Bousfield's Locked Into Phantasy, actually released in 2012. I expected it to come with the name Nero's Day At Disneyland, thus the delay. Pecularily former Mr. Brock Bousfield of Nero's Day At Disneyland seems to have had a sex-change operation into Miss Lauren Bousfield.

Taking away that Lauren is a multisex name, Locked Into Phantasy still sounds very feminine. It also sounds more "artistic" than Bousfields' previous releases and features a lot of female vocals. Last.fm user CupOfSquirrels put it best in last.fm "it (Nero's Day At Disneyland) ultimately felt like a guy pissing about on a synth". I usually try to stay as far as possible from Urolagnia, but I personally loved the way Nero's Day At Disneyland "pisses about on a synth".

Bousfield has moved on to a logical direction and further lessened the breakcore elements on this album. "Locked Into Phantasy" is mainly just odd electronic indie pop. Melodies are similar to old releases of Nero, but where is the beat! I do not feel the kick I get from Nero's Day at Disneyland, lots of the fun is missing, even the slight melancholia is often lackluster. The release feels more plastic. I reckon it is still alright, if you happen to like indie pop. I usually don't.

Putting my listen count above 10 I finally grasped the wood from the trees. Most tracks have about half of material that I like and half that I do not, which takes the mat under the whole track. Good example being Pulling Down Never. The intro vocals take badly on my nerves, then all the sudden we get a mindblowing chorus. It develops to a bridge, that seems to lack a bit of beat but is still solid. Then back to nervewrenching wailing. Sum up: fucking annoying verse; all the rest great.

The record is definitely not without goodness. The title track is just wonderful; and it does sound exactly like Nero's Day at Disneyland. Also thumbs up also to Seraphim Sliding Backwards that really is a simple track with some melodic goodness. Still took over 5 times to open up for me. It contains only mildly annoying elements.

I would enjoy this release a lot more without the vocals. It is a similar situation than with Nero's Day At Disneyland's first album "Attention Shoppers". It contains mostly terrible vocals but its overall craziness makes the bad vocals up a lot better than the artistic tinge on "Locked Into Phantasy".

I hope 10 years from now this EP is thought as a misstep or an experiment which wasn't complete yet, but helped to fruition a new style for Bousfield. I appreciate that it was released under a different pseudonym, the pieces are very familiar, but they form a new sound.

6+/10

The artist shared a mediafire link to freely download the release on his facebook page! http://www.facebook.com/laurenbousfieldanyever/posts/348796375218823

If you feel like paying it is also available in bandcamp for rather cheap 7$ price: http://laurenbousfieldanyev3r.bandcamp.com/album/locked-into-phantasy

I would recommend that you rather grab his earlier release, one of my all time electronic music favourites, 7 $ is a steal: http://laurenbousfieldanyev3r.bandcamp.com/album/from-rotting-fantasylands

Track-by-track:

1. The Ropes Our Nights Were Laid Across, Pulled Taut
Good intro, its already evident that the percussions are in a smaller role than with Nero. Still solid.
8-/10

2. Seraphim Sliding Backwards
I do not understand how it took me over 5 listens to realize it is a great track. The female/child vocals are a lot less annoying here than in other tracks. The 0.31 starting melody is one of the top points of the album.
8½/10

3. Pulling Down Never
Here the downfall begins, the intro vocals take on my nerves then all the sudden we get a mindblowing chorus bridge, that seems to lack a bit of beat but still solid. Then back to nervewrenching wailing. Sum up: fucking annoying verse; all the rest great.
6/10

4. That Was Everything That I Owned
Glad you do not own it anymore, now kill it before it rises. I am glad that the abomination that laments in the intro does not resurface and the vocals develop near the best that this album has. Still, they are sub-par, and the track balances on the edge of skippable. Piano melody is unarguably good.
4½/10

5. Locked Into Phantasy
Among the very best Bousfield tracks of all time. Only Lauren Bousfield track I plan to regularly play to my friends (among with big bunch of Nero's tracks). Probably Bousfield's most accessible and catchy track together with "Child Protective Service Theme Song".
10/10

6. A Tiny Streak Of Daylight (with Judy Balmin)
Only track I skip instantly. Makes me want to murder hipsters.
1/10

7. Two Swans Duct Taped To The Side Of The Coke Machine
First 40 seconds promises we may have a great one coming up, then on comes this backwards childvoice. I can't stand it.
6/10

8. Blown Blooms

Extremely memorable intro, alright bridge. Then another wailing chorus; unfortunately this disappointing turn of events is continued furthermore on a large portion of the track. The glitchy piano outro would surely be lovely if my mind wasn't still dampened by the chorus.
6/10

Synestesia - Nereus // NMMREM XVI

Synestesia is a Finnish melodic death metal band that was formed in 2001 and has been a long time coming but failed to break in to the surface. The predecessor of Nereus, Feenix was very well acclaimed critically, but it seems the band still stayed under. Alike Feenix, Nereus is a self-published free download album (that was also released in a small batch of cds). Immediately after tuning in, Nereus captivates with the amount of professionality. It is apparent that the band really know what they doing and have created an impressive and professional sounds for the record.

The first track Alku begins with a foghorn humming and the sounds of seagulls. Atmospheric ambient, then a piano melody. A great clicheic intro track with a notable melody. But just right. The next track Juurelle majakan did take multiple listens to open up. On first it passed me by nearly completely. Later it elevated as among my favourite tracks of the album. A very catchy chorus with a wonderfully epic background choir, melodic riff. I could imagine hearing this from the radio? Vocals are extremely raspy and the first glimpse of the rather wide growling range the vocalist has. I really dig that the lyrics can usually be imposed from the vocals without the need of reading them.

The next track Valo is a solid track with nice melodic riffing and raspy vocal goodness, but is a step down from Juurelle Majakan. It starts a quick downfall that continues with the title track Nereus and peaks in the 5th track "Murha?". Murha? is probably the most experimental track of the record with a chugging riff and spoken vocals posing as an official announcement. The structure is interesting, but not captivating; the lyrics also bother me as they are not too interesting and quite clumsy.

The next track 274 askelmaa covers the downfall well. The lyrics are obscure as hell, I do not know what are these 274 steps and how they relate to anything but the song has a big emotion and atmosphere going on. Death/doom composition with an emotional quality and progressive touches makes this a clear highlight along with Juurelle Majakan. Also I do not know how Synestesia manages to pull it off but the emotional death/doom track finishes up with a memorable 70s progressive rock keyboard jam!

The album finds another low point with Hiljaisuus, which might actually work better for a listener not native Finnish as the lyrics are clicheic as fuck. The composition really has potential but repeating "niin kaunis on hiljaisuus" on and on again just takes the mat under this song.

Rest of the album isn't that memorable in a good way or bad but solid 7/10 death metal with its minor peaks and low-points. Peaks include for example the raspy vocal performance of the vocalist, groovy riff of Kone pysähtyy and the end of Kuolleiden Kulkue which has another doom/death riff topped by piano and finally epic female vocals. It serves as a great outro for the album. It also brings in the question, what if Synestesia really made just Doom influenced metal in this style that they so well incorporate in small sections?

I believe the record may actually work better if you don't get the lyrics as for me they aren't that special and that is the biggest problem of the album. When listening in your native language; lyrics usually have to impress, but in Nereus they are rather obscure. It is supposed to be a concept album but even with reading the lyrics once, checking their internet site with some great thematic art (http://nereusprojekti.net/), and trying to think of the concept, it remains obscure. Maybe Valo and Nereus are some sort of propaganda tracks of the Nereus nation? Meaning the emotions are clicheic on purpose?

As a whole Nereus fails to captivate this picky listener, who nowadays mostly finds melodic death metal rather bland. There is no questioning however that Nereus has lots of diverse elements and originality and it does keep the listener entertained, especially on first listens.

For a listener who is really into melodic death metal or for the "Finnish Sakara-generation" this album can be a very good experience, but I doubt Synestesia reaches the front-line of Finnish metal bands with this effort. It is melodic, raspy, heavy, diverse but in total hard to grasp and lacking much of the high points. But it is a good try, keeping this quality Synestesia would surely had continued to grow and slowly find bigger audiences. Unfortunately in the December 2012 the band announced its breakup. It is a shame as this sort of hard-hitting metal would surely strike home way better in a smoky club after a few beers.

7+/10

Download the album for free: http://nereusprojekti.net/