Yes - Close to the Edge

For my final course-related review, I'm going to be covering a truly classic record by one of the most important progressive bands of all time. Along with (hopefully) familiar names like Rush, King Crimson, Genesis, and Pink Floyd, Yes is considered by myself and many others to be a quintessential rock band. Any fan of music needs to be exposed to Yes if they haven't been already, and if I were to pick one record of theirs to share, it would Close to the Edge.

Often and rightfully cited as Yes’ greatest musical achievement, Close to the Edge features the seminal 70’s progressive band at the absolute peak of their abilities. Along with its predecessor Fragile, it is also definite proof that the quintet (who are still at it today in a different form, believe it or not) of John Anderson, William Bruford, Steve Howe, Chris Squire and Richard Wakeman remains the non-debatable classic line-up, that sadly enough only lasted for these two albums. Close to the Edge is short, 37 minutes long to be exact. That said, there are only three tracks! Given, they're three epic tracks, ones that do not carry any of the group’s former rough edges or future missteps. This record is unbelievably ambitious. Every moment of Close to the Edge is marked with absolutely masterful musicianship, but overall, the record feels strangely focused and, as odd as it may sound considering that each track either breaks or approaches at least ten minutes in length, concise. 

The centerpiece of the record is, of course, the title track, "Close to the Edge". Originally it took up the entire first side of the LP (oooh vinyl speak), and at almost 19 minutes accounts for over half of the record's running length. Messy yet captivating barrages of riffs, gorgeous melodic guitar leads, elfish vocals, a haunting two-minute organ solo, and a lyrical concept that likely makes no sense to anyone but the band members themselves, shoot, it’s got everything a pretentious progressive epic needs! Somehow though, despite the length, you'll suddenly snap up when the track finally ends, wondering where all of that time went.

In short, it’s pretty damn epic.

The first side of the record speaks for itself, but Close to the Edge’s second half does everything but disappoint. "And You and I" is quite different from the title track, and serves an excellent position as middle piece, relying less on virtuosity and more on atmosphere. Immediately notable is the beautiful acoustic work by Howe, who on this track is relied on heavily by Anderson the rest of the band. When Wakeman jumps back into the mix, however, this song comes together. I remember listening to the back half of "And You and I" at a very young age. Even today, the instrumental bridges featuring organ are stunning. 

The conclusion of this classic record is "Siberian Khatru," the shortest song on the record at 8 minutes long, but also by far the most upbeat track. Like Yes' biggest radio hits "Roundabout" and "Heart of the Sunrise" (yeah, there was a time when this kind of stuff got played on the radio..), it is a very powerful showcase of Yes’ one truly permanent member, Chris Squire, who is widely known as one of the best bass guitar players of all time. This performance ranks right up with his best work. Even though the rest of the track is totally on point, the entire song is built around Squire’s impossibly groovy bass lines, which dominate nearly every second. The way that the guitar and bass interplay on "Siberian Khatru" gets me every time. They're both inherently active, but never in conflict with one another, and that energy provides a fitting and energetic end to a brilliant album.

On the whole, Close to the Edge isn't just Yes performing at their peak, but one of the best examples of how awe-inspiring progressive rock can be.  Like all genuine classic albums, it is also a record that gets a little better every time you listen to it. You'll hear something new (or in a different way) over and over, proving how well-composed it really is.  That said, spending enough time with Close to the Edge will pay off.  Once you get past the obvious weirdness, you'll realize that it's reputation as a cornerstone of the early progressive rock movement is well deserved, and further prog nerds like me have so much to say about it.  Quite simply: this record is essential.

Below is my personal favorite track, "And You and I". You might recognize it from the dozens of films and commercials its main vocal hook has been featured in over the years, but I encourage you to take in the whole thing, it's worth it!

The Devin Townsend Project - Addicted

So, If you've ever wondered what it would sound like if Cannibal Corpse and Britney Spears collaborated on a record, look no further than The Devin Townsend Project's Addicted. Yeah, I did just say that, but believe me, it's pretty hard to describe this record. Just, uh, hear me out?

Some of you older folks might remember Devin Townsend from way back when. Besides a lengthy stint playing back up guitar for Steve Vai, he was known to most as the front man of extreme metal band Strapping Young Lad (speaking of, you should probably go listen to them..). In those days, his off-the-wall personality and unmistakable hairdo set him apart from the average metal vocalist. That said, Strapping Young Lad was a one trick pony. Devin was just screaming angry words, chugging out angry riffs, and being a very angry man playing very angry music in general. Well, by 2009, he had cleaned up something fierce. All of a sudden the dude was sober, wearing suits, and had given up on whatever hair he had left (along with cutoff t-shirts and jean shorts). He also released the second album in a four-part sequence under the Devin Townsend Project name; Addicted, a clear and deliberate reference to his own demons. One might expect something poignant featured on the album's cover, but guess what..

It's crayons.

Yep, crayons. The sight of a child’s plaything on the cover of an album released by "Hevy Devy" himself may worry the innocent Strapping Young Lad fanatic who hasn't been exposed to his solo work. Additionally, the fact that Addicted drew heavy production influence from Nickelback’s Dark Horse may (and should) worry pretty much everyone else. That said, try not to let anything deter you from giving Addicted a chance, because to be quite frank, the album is totally and utterly brilliant.

Anyone in the prog rock/metal world will likely speak volumes about the generally outstanding quality of Townsend’s solo releases. He's made some amazing records, and as a result is almost universally enjoyed and respected by his peers, fans, and critics alike. Looking back to the first of these - Ocean Machine: Biomech, we're presented with an album that was showered with glorious praise by critics and fans. As a result, each of Devin’s subsequent releases have been held to a PAINFULLY high standard, and are notoriously nit-picked by critics for even the finest details (albeit, usually applauded for them as well). Of course, one could look at Addicted in a similar way. You could take the album and analyze every note, every key change down to the most minute details, but you’d be missing the point entirely. Sure, Addicted is chock-full of brilliant technicalities just like any of Hevy Devy's other releases, but that’s not the point. This record is fun as hell, and that's all anyone really needs to know about it.

Take, for example the third track, “Bend It Like Bender!”. It starts with Devin’s signature chugging riffs and screaming vocals, but manages to break out into a poppy, catchy chorus centered around some BEAUTIFUL female vocals. “In-Ah!” is probably the most mainstream track present on the record, which is, frankly, full of pop themes. It's melodic, mid-tempo, and - get this - ternary in form. Not exactly what one would expect from one of today's prog masters. Hell, even the two (a little out of place, I must admit) crushingly heavy openers, “Addicted!” and “Universe in a Ball!” aren't even angry as such. They're just gigantic-sounding pop songs with weight, so to speak. Additionally, the anthemic choruses of tracks like “Supercrush!” are too catchy to ignore, and showcase clear influence from 80's arena rock. The melodies throughout Addicted are brilliant, and every track hits the mark (except, perhaps, “Universe in a Ball,” the real black sheep of this release).

So, before you listen too critically, or in the case of many an internet metal nerd, write Addicted off as "butt rock", take a chill pill and remember that this is an album that you’re meant to just sit back and enjoy. You’re supposed to take every song at face value and have fun,  whether it's headbanging to a gnarly riff or singing along to what I consider to be some of the catchiest hooks in music today. My suggestion? Take a drive, hit play on the the playlist below (it's nearly the complete album this time, you're welcome), and lose yourself in some great jams.

The Systematic Mixing Guide - Its Worth Your Money

As an audio professional, I'm no stranger to sifting through wordy and painfully dry specialized texts.  Sure, there's plenty of great information buried among the mess of diagrams and large blocks of text, but I've found that often times I spend just as much time looking for the right blurb as I do applying it to my work.  It's not a very efficient way of learning by any measure, and frankly I think that I speak for many an engineer when I say that there has GOT to be a better way for us to go about it.  Enter the Systematic Mixing Guide, a truly tell-all guide to mixing tracks from start to finish, written by Ermin Hamidovic.  

I stumbled across this text not too long after it's release, as Ermin is a very reputable member of several gear and audio-related forums.  I'm not normally one to pick up anything like this, but based purely on his reputation, decided it was worth the read.  The book is made up of 12 chapters, each detailing different parts of the mixing process.  Everything from working with live drums to proper vocal automation is covered comprehensively, including typical problem frequency ranges, starting points for compression (not to mention what types of compression tend to vibe well with a given source), and even advanced applications for parallel processing, reverb, and delay.  Let me make that clear, Ermin provides these details for EVERY part of your mix.  

A small disclaimer: this guide is technically rock and metal centric.  Keep in mind though that metal music and busy mixes tend to go hand in hand.  The prevalence of very noisy sources (high-gain guitars for instance) combined with quick tempos and complex rhythmic patterns leaves ZERO room for messy production, speaking both spectrally, spatially.  Basically, every single track has to be painfully clean and well-balanced in relation to it's neighbors, or the end result will be a muddy, jumbled mess.  We all want clean, balanced mixes, and frankly that's what mixing metal (and this book) is all about. That's why I strongly believe that the principles covered in The Systematic Mixing Guide can (and should) be applied to every genre.

One of my favorite chapters details Ermin's process for working with distorted guitars, which are one of the most difficult instruments to process and place well in a mix.  He explains with sound theory some great starting points for processing, as well some (compelling) arguments against relying on additive EQ and broadband compression.  Perhaps most importantly,  he also lets us in on a few very specific tricks to effectively control the low end of high gain guitar tracks.  It's the finer points of mixing, like the topics covered in this chapter, that audio professionals can glean the most from.  After all, it tends to be the "little things" that separate a good mix from a fantastic one.

In all of my 8 years working with audio, I've never gained so much from one piece of text.  The Systematic Mixing Guide has completely changed my perspective on mixing, and has been invaluable in my journey from a weekend hobbyist with an Mbox to the audio professional that I am today.  So, seeing as my time at AI is very quickly coming to an end, I feel obligated to take this opportunity to let you all in on this hidden gem.  Pick this book up, in physical or digital form HERE. It's an awful lot cheaper than a text book, and take it from me, once you've read it, you'll never look back.

SikTh - Death of a Dead Day

For every band that carries on past their prime years to the point of self-parody, there's a barely noticeable, ultra-rare breed who split up at the height of their greatness. Out of those ultra-rare groups, there are even fewer who split up before they reach their full potential, in turn leaving the rest of us to wonder what could have been, all while raising horns to the one or two albums that they left us. This brings us to SikTh.

Hailing from the home of Napalm Death and Iron Maiden, SikTh blend the former's composure and progressive edge with the latter's aggressive shifting sound. I can still remember the moment when I first heard SikTh's Death of a Dead Day.  I was 15, and to that point the most intense music I'd been exposed to was Metallica.  When I heard the first track on the record "Bland Street Bloom", my world changed. SikTh sounds like a band of aliens, one from a universe where mathcore bands deliver poppy hooks, progressive bands don't get bogged down with proficiency, and death metal bands focused on clean, melodic songs instead of BPM. Sure, those things might happen occasionally, but how often do you hear it all on the same record?

After several EPs, in 2006 SikTh enjoyed high points in the form of a slot at Download Festival, a tour of Japan with Anthrax, Killswitch Engage, and The Dillinger Escape Plan, and finally a sold-out U.K. tour.  But SikTh's defining moment arrived on 6/6/06, the release date of Death of a Dead Day.  

If you've never heard SikTh before, the first two tracks, "Bland Street Bloom" and "Flogging the Horses," will practically punch you in the face. Your head will spin amidst the crazy tight and punishing riffs as they contort under relentless drumming. You'll start to wonder how Mikee Goodman didn't literally scream his intestines out in the studio.  Any musician will listen wide-eyed, as guitarists Pin and Dan Weller, and drummer Dan Foord beat the lives out of their instruments. It's difficult to listen critically the first time through, but I promise, this is one of those releases that gets better with time.  There is way too much to dissect on Death of a Dead Day for one to perceive and absorb the album's finer points in one go.

For such an aggressive band, SikTh never overwhelmed me.  Even the most SLAM moments on Death of a Dead Day, like the "Another Sinking Ship" and extremely technical "Summer Rain" sound organic.  Usually such crazy progressions would be written off as "riff salad", but SikTh manages to pull it off with fluid precision.  One thing's for sure, not a moment of Death of a Dead Day will sound like an imitation of something else. Well, anything that preceeded it.  SikTh's signature sound can be found in bits and pieces of practically every "djent" band in existence today (I'm talking to YOU Periphery).

Despite several dozen major compositional and stylistic shifts, Death of a Dead Day never stops being catchy.  SikTh is the kind of band that can get you sent to the emergency room after headbanging your way to whiplash .  A few cliff notes, "In This Light" sounds like it crawled off of a Tool record in the best of ways.  The spoken interlude "Mermaid Slur" brings light to the band's Nick Cage influence.  "Where Do We Fall" is outwardly driven by melody, and makes me wonder what would have been were SikTh to have made a try at radio success.  Well, the kind of success that would be possible if Gojira and Queensryche ever had a chance at the top 40.

The recent success of proggy bands like Mastodon and Baroness makes me wonder what kind of audience a new release from SikTh would find. Their break-up is a loss to the rest of us, but even if they never record another note, SikTh should be remembered as the best British metal band of the decade.  I realize that I spew niceties about records on here weekly, but in all seriousness, this record is important.  Any fan of heavy music NEEDS to hear Death of a Dead Day.  Hell, if you're not into metal at all, at least give it a shot, ya know, just to see just how catchy a song with more than 4 chords can be.

Below is the opening track off of Death of a Dead Day, "Bland Street Bloom".  It's a great track, but if you want a real look into what SikTh can do, I encourage you to listen to the rest of the record.  You won't regret it. 

Opeth - Damnation

In keeping with my usual taste of heavy music, this week I'll be covering one of my top 5 albums of all time. Opeth's Damnation was released in 2003, and is considered to be a new classic in the world of metal.  Opeth was historically an extreme metal band prior to this release, but departed from that perspective in favor of a folky classic prog sound that I've since become nearly obsessed with.  I listen to this record at least once a week, and am very familiar, so I'll be analyzing this release in a different way than usual, talking about composition, lyrics, and my overall impressions of Damnation in a holistic context.

Sound: Opeth's 7th studio observation, Damnation, breaks away from the rest of their releases.  It's a completely mellow album. Mikael Akerfeldt described this album as "a way to get in touch with the music of the '70s that influences my writing, even my heavier music, but this gets me closer to it than ever before." The softer side shown on this album is polar opposite anything released under the Opeth name.  This album is, quite frankly, beautiful. The guitar work is intricate, the bass is ever present, offering a steady rhythm suited to the delicate nature of the guitar and Martin Lopez' percussion is absolutely astounding. His drumming switches from playing with passion and feeling, to playing with power and an out pouring of emotion. The guitars sound awesome, and it should be noted this is not an entirely acoustic album, alot of the riffs are played with electric and most songs are more or less a 50/50 use of clean electric guitar and acoustic, both 6 and 12 string, with the 12 string creating some very exotic sounding lead acoustic work. Having said that the album is soft, mellow, beautiful and fragile, does not make this album less evil. Death Whispered A Lullaby and To Rid The Disease are evil tracks lyrically and sound comparatively darker than the rest of the album.

Lyrics: Mikael Akerfeldt's voice as I said above, is delicate, beautiful and almost fragile sounding. Sounds strange to say about a death metal bands singer right? Opeth fans will know Mikael's softer vocals, and on this album his clean voice is at it's best. The lyrics on this album I believe are some of my favorite lyrics of Opeth's and of any band in general. Akerfeldt has connected with his pain and every powerful emotions he keeps inside himself and they pour out in the lyrics, and in his voice. I have the Lamentations DVD, where the entire Damnation album is played live, and it's obvious that these lyrics are very personal, and very close to his heart. This shines through on the album, especially tracks such as Hope Leaves, Akerfeldt's favorite track of the album. Closure is another example of the beauty in the album, the last lyric of the song "In the rays of the sun, I am longing for the darkness" sends shivers up and down my spine.

Overall Impression: The only gripe I could pick out about this album, is the length. Standard Opeth albums range from 5 to 8 tracks and are all about 60-70 minutes each. Yet on this album, it doesn't even reach 45 minutes. Having said that, I can't imagine this album being different. I don't think you could successfully add to or change this album and not have it kinda spoil the effect given already. Closure is perhaps my favorite song on this album. The lyrics are very powerful, and the Arab-esque Outro has to be heard to be believed, other favorites include Windowpane (beautiful, with great solo's) and In My Time Of Need, but it's all stunning. I recommend this to anyone, this album has universal appeal and I have gotten alot of people who have no interest in metal (death, black, heavy or otherwise) into Opeth through this album. This album can appeal to anyone, and I recommend it to metal fans, and anyone interested in skilled musicianship, beautiful lyrics and vocals and powerful, emotive music in general. Below is my favorite track off of this record, Closure. I hope you enjoy it!

The Contortionist - Language

The Contortionist broke into the scene with 2010′s Exoplanet, a 50-minute arrangement that covered a wealth of genres, and showed off a level of musicianship unmatched by their peers. A fluid blend of heavy, atmospheric, and everything in between, the album’s unpredictability and avant-garde approach was praised by critics, and quickly became the standard by which progressive metal was judged.

The band's next record, Intrinsic, was less brazen, further pushing the boundaries set forth by its predecessor with mixed results. Though equally impressive from a musical standpoint, structurally it struggled to find its footing, alternating between various styles with less competence.

This leads us to Language, the band’s third full-length studio album, and the first to feature frontman Michael Lessard, who joined the band after Jonathan Carpenter’s departure in early 2013. With a new front, the outfit has continued to progress their sound into uncharted territories, exchanging the dizzying time-signatures and bone crushing breakdowns of Exoplanet for more calculated soundscapes.

This change is apparent within the first 5 seconds of the opener, “The Source.” Lessard delivers a haunting hymn amidst mounting synth and subtle guitar work, and very quickly, one realizes that "the fans" have taken a backseat to sincere discourse. This is a band making music for themselves. No one else.

A beautifully unexpected introduction, the cascading vocals of this initial offering are soon replaced by the album’s first single, “Language I: Intuition,” A moody dotted 1/4 note delay sets the scene, and is soon joined by a pulsing bass line and more tasteful atmosphere provided by Eric Geunther, keys, another new addition to the group. Following a jazzy break towards the songs midpoint, the stellar guitar work of Robby Baca and Cameron Maynard is finally allowed to take the wheel. Within the track’s closing seconds, the song builds to a towering climax, before diving headlong into “Language II: Conspire,” which, for longtime fans, will undoubtedly satisfy the thirst for heavy. Less restrained and delightfully devastating, this track is also the first real look we get of Lessard’s underutilized screaming, which is unfortunate, its pretty gnarly.

Once past the brooding opening of “Integration,” listeners are whitewashed by drawn-out melodies and repetitious riffs. Similarly, “Ebb & Flow” comes complete with some phenomenal guitar playing reminiscent of Tosin Abasi, but frankly, they are downplayed by forgettable vocal lines, which are, unfortunately, somewhat common across the album’s nine tracks. Not to say that Lessard is a bad vocalist, he can sing, but with the exception of a few standout moments, his delivery isn’t particularly diverse, which in turn devalues this record's shift to a strong reliance on clean vocals. Progression is great when it’s natural, but progression for the sake of progression is less enticing. Plain and simple, I miss the heavy, I want to hear some yelling from time to time.

However, to say that Language is poorly written would be stupid. “Arise” and the previously referenced “Language II: Conspire” finds the group balancing their trademark duality with the same finesse that first put them on the map four years ago. Jaw-dropping shred soars as Lessard shows us what he is truly capable of, while Joey Baca, one of my favorite drummers, somehow manages to keep time with machine-like precision. “Thrive” demands your attention from the second it starts, and manages to maintain that same sense of urgency even during its softer moments, and the last track, “The Parable”, peaks with my absolute favorite moment on the album.

Though Language continues to lack the reckless aggression I missed so much on Intrinsic, as a whole, it still has a lot to offer. From a musical standpoint, it is daunting, and though there are times where they seem to be writing too deliberately, the undeniable quality of the final product makes these excusable. This band is pushing the genre, and in turn has to find out what does and doesn't work. I can't wait to hear the next step in their development! Below is the closer on Language, "The Parable", enjoy.

Vlog One

Hey Everyone, this is my first vlog, really it's just a bit of background about me and where the idea for lastronaut came from. 

Here are some links to my social media accounts:

Personal Facebook
CLOCKS Facebook
Personal Twitter
CLOCKS Twitter
Personal Soundcloud

IG, Snapchat: @ianjsheridan  

A Break From the Usual (What I actually do)

Up to this point, I've collectively left all of you in the dark insofar as to what I "do". Sorry about that!

As mentioned in my "about" section, I'm an engineer, producer, and musician. I grew up playing drums, and have since expanded into learning piano, guitar, and bass. I'm lucky enough to have played in plenty of bands over the years, but for the past several now I've been largely focused on Clocks, a progressive metal band that I started with my best friends in 2011. We've released 2 EP's and toured the country. Much of who I am as a musician, engineer, and human being in general has been shaped by my experiences in Clocks. I consider myself lucky to be part of something so rewarding.

I've done a little bit of everything for Clocks over the years. This track, titled "Indignation," is one that we recently released as a single. I've composed the drums and built multisamples of my own kit for replacement, written and recorded a few guitar parts (as well as all of the bass), and can even be heard singing harmonies on this song. I've also done most of the tracking and editing (though Dakota over at Pro to Pro does a lot of grunt editing work for me when he can) and also mixed and mastered the track. Hope you all enjoy, I'd love to hear your thoughts on this song!

O'Brother - Garden Window

I stumbled (literally) across O’Brother around two years ago at a house party on Illinois State University’s campus.  Someone took over the stereo and started playing “Malum”, the first track off of Garden Window.  30 seconds in and I was hooked, not to mention introducing myself and asking what awesome band was being played.  A few months later after countless listen throughs, I saw them open for Manchester Orchestra.  Long story short, O’Brother SLAYS live.  Even if the music isn’t really your thing, a show is worth the effort and investment. Trust me.

Released in 2011, the first thing that really stood out about Garden Window was how heavy it is.  Now, I’m not implying heavy metal, more in terms of the density and impact every track seems to carry.  “Malum,” the album opener, establishes right out of the gate that for the next hour or so of your life, a cryptic and sludgy wall of sound will be washing over you.  Opened by Merritt’s lyrical question “How great is my debt that my penance should be endless? Lo, my eager eyes will behold the truth”, Garden Window is a markedly dark record, one full of religious skepticism and existential questions.  On “Last Breath”, the album closer and ‘anti’-”Malum,” looks back to the original question, implying that seeking an answer only creates more questions, “So if god is an acronym, some giver of damnation, then why even bother with the concept of man?”

Musically, O’Brother explores a variety of territory, but generally stays within the boundaries of post rock/metal.  That said, they aren't at all afraid to explore song structure and lengthy arrangements; “Cleanse Me” clocks in at just short of 14 minutes.  Listening to this album leaves one with the feeling that the band spent considerable time working on the continuity of these 11 tracks.  Each track builds off of the others, and the result is a release that feels truly complete.  For example, “Lo” re-purposes the vocal melody from “Malum” and reorients it into a semi-standard rock song.  “Poison” starts at a mellow pace, building gradually as a lead-in to “Lay Down”, a truly massive and epic song.  Further, “Machine Pt. I” and “Machine Pt. II” are so well connected that my musician’s intuition suggests their having started as a single song, serving to build intensity one last time before the last few tracks close the record.

Anton Dang, bassist, truly drives a large portion of Garden Window.  At times he branches far out of the norm, using a bow on his bass ala Jimmy Page’s famous guitar technique.  Michael Martins’ drumming is interesting as well, he’s generally a player that seldom breaks out of the pocket, but his building rhythms on “Malum” and “Poison” are some of my favorite moments on the record.

Believe it or not, Garden Window is O’Brother’s full-length debut.  It sure doesn’t sound like it, as they've taken all of their different influences and blended them in a totally unique way.  I've never heard a band that sounds quite like O’Brother, and doubt I ever will again.  This album stands alone in recent years in terms of originality and in my opinion, should be elevated into the realm of future classics.  It’s unique, powerful, and cohesive, and I can’t wait to hear what the band does next!

Below is the first track off of Garden Window, “Malum”.  Enjoy!

Russian Circles - Memoriam

Okay, we all have a band or artist that speaks to us on a particularly deep level, almost seeming like an artistic muse of our personality or taste. For me, Russian Circles is that band. They very recently released their fifth studio album, Memorial. It’s instrumental music, focused heavily on drums and shifting rhythms. In that sense, it’s typical of a Russian Circles release, but like each record before it the band has evolved. Their signature sound seems to be further refined on Memorial, and leaves no question why they continue to dominate the genre they pioneered (along with former label mates, Maserati).

I’d describe Memorial as dark, almost sour, especially in contrast to their past releases. After “Memoriam”, an acoustic intro, “Deficit” opens the record up in true Russian Circles style, with plenty of layered guitars, massive riffs, crazy bass fuzz and rotating polyrhythmic drum movements. Slow menacing riffs slowly speed up and build into a choppy, murderous riff with huge explosions of feedback and strings in the background. “1777”, one of the band’s best of all time in my opinion, plays on Russian Circles’ ability to engross the listener in a thick atmosphere, planting us somewhere in the distance, somewhere dark and cold.
In that sense, this band is truly one of the greats in terms of their ability to pull you in.

What really stands out about this record is the overall vibe it creates. Memorial seems inherently based around a set of feelings or ideas than individual riffs. “Memorial” and “Cheyenne” offer a great example of this. They are both tremendously understated, practically floating through time with little happening at all. Both tracks are about the textural experience. Not a lot of working and actively touring bands have attempted at, but Russian Circles pulls it off with finesse. Not once was I thirsting for structure or familiarity.

Every time Russian Circles releases a new record, I'm practically ashamed to listen to it. Its almost too perfectly suited to my tastes, and if there are flaws to be found, I’d be hard pressed to perceive them. Maybe one day I’ll be able to convince myself that some part of a certain song doesn’t work, or that a guitar tone is bad in a small section, but at the end of the day, I have a hard time finding anything negative to say about Memorial, or for that matter, Russian Circles in general. As a band, they’re completely focused on perfecting their craft. Their musicianship is impressive, and they’re far and away one of the most unique bands I’ve ever come across.

So all of that said, I’m clearly a little bit biased. Is Memorial a great record? I think so. Is it one of the best albums I’ve ever heard? That goes without saying, but I’ll stop being a fan boy now and let you judge for yourselves. Below is “Memorial”, the album closer. Enjoy!

Letlive - The Blackest Beautiful

Letlive, a post-hardcore band from L.A., released The Blackest Beautiful in July of 2013. Unlike peers in the post hardcore realm, Letlive shoots for big choruses, writes lyrics about major social issues, and most poignantly, dole out their sound with such intensity that it’s borderline suffocating (listen to “Casino Columbus” and “We, The Pros of Con”, you’ll get it). Its clear that Letlive wrote with the intention of “saying something”, and Jason Butler’s nuanced performance does just that.


A lot of “message” oriented bands let the music itself take a backseat, acting simply as vehicles for a cause to travel on. The Blackest Beautiful is nothing like that. The tracks feel complete, and require several listens to really absorb. In my opinion this lack of immediacy is good indicator of this record’s longevity. People will pick up this record ten years down the road and still be able to relate and connect to it in a way that fits the times, so to speak.

Okay, so I realize that I said this record lacks immediacy, but that’s not to say that tracks like “The Priest and Used Cars” and “Pheromone Cvlt” don’t hit hard right out the gate. The former riffs intensely, but plows its way through to a stunningly restrained chorus with my favorite vocals performance of the record. The latter is ALL restraint, and the most personal song on the album. Butler’s lyrics are for a moment painfully intimate (in a good way), acting as a counterpoint to the almost selfishly constant vocalization (he even finds time to rap) that is his hallmark.


In terms of production, other critics have slammed this record for being underproduced, or at least poorly mastered. I’d venture to say that this opinion is based in the poor quality leak of the album that has since spread across torrent platforms. My (purchased) copy sounds great. If anything, I think it’s too clean, and too produced. Letlive is the type of band that might benefit from a raw production perspective. Too clean means that Butler’s ad-lib vocals feel deliberate and planned, which doesn’t vibe well with the self-awareness that he reveals in his lyrics.


The overarching theme for The Blackest Beautiful is best described by Butler’s cheeky remark about his band being “an example, an exhibition” on the album closer. We know that our entertainment often spurs the most change in society than anything we read in the news. We know that people use music and art to shape their actions and belief. Letlive combine a relevant message and good intention to use music and art for good, providing listeners with a positive influence to draw from. Below is a great example, “Banshee (Ghost Fame)”. Enjoy!

Haken - The Mountain

Haken, Hailing from London in the UK, has often been compared to Dream Theater. This, for me, is a problem. Why? Because despite the undeniable relevance of Dream Theater to progressive music, I am not alone in finding Dream Theater’s music to be generally void of creativity. It lacks feel, and to me is by-in-large an exercise in creativity. So, if someone were to say to me “Hey! Check out this band, they sound like Dream Theater,” it’s an instant cue to tune out. That said, when Haken’s album The Mountain was released last year, I couldn’t in good conscience say no to a thorough listen through. Even though I went in with little interest, the fierce loyalty that my friend’s hold to Haken’s music warranted exploration.

What makes Haken’s music so loyalty-inducing is that they don’t sound like any one other band in particular. Their progressive style seems to reference music from all over the map. The Mountain opens with a clean, open soundscape on “Atlas Stone”, draws influence from Mr. Bungle on “The Cockroach King”, and even ventures into Leprous-like territory on “In Memoriam”. Frankly EVERY track on The Mountain is interesting and generally cool, and brings Haken up to a level with the very best in progressive music.

The best part of The Mountain is Haken’s ability to mix beautiful melodies and pop-style song structures into a form that is both unpredictable and intellectually stimulating. They move fluidly from funky weirdness to metal and back on “Falling Back to Earth,” drop right back into a freeform jazz arrangement in “Atlas Stone.” Influence drawn from Marillion/Fugazi and Porcupine Tree appear on “Somebody.” Through all of these wildly different influences, nothing feels forced or derivative of another band. Frankly, it has a lot to do with Ross Jennings’ vocals, which I find to be a grounding factor, providing familiarity as the instrumentation floats across genres at will.

It goes without saying, though, that the vocals are not the only factor that make this record brilliant; the band is clearly highly talented. Both guitarists balance their work, and know when to take a step back from shredding and perform from a minimalist perspective. I love that Tom MacLean’s bass has been mixed in such a way that it actually stands out, it’s the source of some of my favorite moments on The Mountain. In terms of production in general, it’s more than good enough. The keyboard and guitar work never run into one another, a common problem from a mixing perspective. My biggest complaint sonically is that the drums are a little bit dry, and as a result are occasionally buried. My hunch is that it is due to how loud this record is. The Mountain is by no means squashed to the extent that a top 40 pop track might be, but enough that the drum tone falls victim to heavy mastering compression.

Overall, The Mountain is an example of Haken’s rarest talent; the ability to write a record that is entertaining for it’s entire 70 minute duration. The record feels fluid, moving seamlessly from genre to genre but never sounding like anything but Haken.

Check out “The Cockroach King” below. It’s just one collection of sonic flavors available on The Mountain, but it won’t disappoint!

Gojira - L'Enfant Sauvage

Looking back a few years, if someone were to have told me that Gojira, a French metal band, would be signed by the same record label as Slipknot and Trivium and open up for Metallica, I would’ve laughed in their face. But after years of constant touring and a string of records acclaimed by fans and critics alike, it makes perfect sense that a band this talented and consistent would eventually get some international recognition. For Gojira, that recognition came in 2012, when they signed to Roadrunner Records. Shortly thereafter, L’Enfant Sauvage was recorded and released, forever cementing Gojira’s place as the most important contribution to heavy music ever to come from France.

When a band signs to a major label, their first release very frequently divides the fan base. For Gojira, this division was drawn along the lines of vocals. Joe Duplantier sang extensively (instead of solely screaming) on L’Enfant Sauvage, which for many long-time fans was off-putting. I would argue though that his choice to expand his style makes this record much more accessible to the average listener. That said, on a grand scale, Duplantier’s style tweaks are minor. Tracks like “Explosia” and “Planned Obsolescence” are exceedingly aggressive, and familiar elements of Gojira’s past releases can be found throughout L’Enfant Sauvage. Plenty of catchy riffs, pick slides and pinch harmonics abound, tons of memorable melodies, and last but not least, world-class drummer Mario Duplantier’s POSITIVELY DOMINATING drum performance.

Though I would readily categorize L’Enfant Sauvage a progressive record, you all should be pleased to know that it never derails into the sort of superfluous prog wankery that metal nerds like me are into. The band takes it’s time with each passing riff, and songs have relatively straightforward (albeit excellently arranged) structures. A prime example of this can be found in “The Axe”. The song progresses until they finally land on the “right” riff. Rather than try to reinvent the wheel, that one riff is tactfully ridden out for the last third of the song. It’s simple, but effectively catchy. Even now, three years removed from the release of this record, I can still remember it in it’s entirely.

Familiarity is somewhat important for a band, especially one like Gojira, whose signature sound is well-defined. That said, they aren’t hesitant in the least to try new things. The album opener immediately assaults the listener with a massive groove before somehow transitioning into what sounds like a prog-metal take on a Spaghetti Western soundtrack. Odd? Yeah, maybe, but in the context of the song, it’s perfect. “Born in Winter” and “Liquid Fire” both feature catchy melodic choruses without losing any grit.

Notably, L’Enfant Sauvage is pretty short by Gojira’s standards. At a “modest” runtime of 53 minutes, it’s ten minutes shorter than any of it’s predecessors. Critics in the past had complained that said releases were too long, and L’Enfant Sauvage recognizes this. If nothing else, I would argue that the shorter play time aids listeners in remembering each song, and practically asks to be played again.

Okay, so, maybe you’re not into heavy music like me, and you’re thinking “Why should I care about a metal record from 2012?”. That’s easy. Because Gojira don’t even seem like they’re trying. This monstrously aggressive and technical record somehow sounds effortless. It’s like hiding a kid’s medicine in applesauce, except in our case the “medicine” is nerdy stuff like polyrhythms and phrygian modes, and the applesauce is groovy riffs that make you want to fist pump through the roof of your car. That’s the best thing about L’Enfant Sauvage. Gojira have written a developed record that is so committed to it’s sound that the majority of people who hear L’Enfant Sauvage will only enjoy it for what it is on the surface, they’ll never REALLY listen to it in depth. Good thing too, we don’t want them to figure out there was medicine in the applesauce…

Below is the first track off of L’Enfant Sauvage, “Explosia”. Get lost in this awesome record and enjoy!

Karnivool - Asymmetry

With few exceptions *see my most recent review of Polsyenso’s One Big Particular Loop* I have found that a GREAT album has roots in its predecessor, sometimes obvious, others well-hidden. The funny thing about Karnivool’s Asymmetry, released in July of 2013, is that it is a full-fledged continuation of the very end of their previous release, Sound Awake. The last track on Sound Awake, “Change”, is slowly deconstructed until it dissolves into a single jagged drum beat, and then further torn down to the point that all sense of time within in the track is lost.

Think of Asymmetry’s first half as an album’s worth of that moment’s uncertainty. Much of the first few songs thrive on jarring the listener, with aggressive noises, absolutely bizarre combinations of time signatures. All of this is further reinforced by unique production elements such as a variety of aggressive bass effects, and even a vocoder. The whole album represents a truly progressive mindset across the board. The drums sound effortless, but close analysis reveals some of the most counter intuitive rhythms in music today. The bass guitar on Asymmetry is expressive, to say the least, and is refreshingly present and relevant to song structure and development. Last but definitely not least, Ian Kenny’s vocals are delivered flawlessly, with a raw quality seldom found in today’s productions.

The real strong point of Asymmetry, though, is how the album develops over its course. By the time one has listened through to “Float”, an interlude fleshed out to a five-minute length, the jarring and uncertain vibes first few songs have been abandoned. “Float” is one of Karnivool’s defining moments. It’s delicate, motivated, and telling - before the choral swells come in, before a host of intricacies are eventually introduce, Ian Kenny sings “all we want, is enough to get by.” Maybe Kenny was referring to Asymmetry itself, and how the group is simply along for the ride, attempting to justify what is undoubtedly a vastly complex (and technically impressive) record.

Below is my favorite track off of Asymmetry, “We Are”.

Asymmetry is a strong release from an already well respected progressive band, and conceptual experiment in technicality and visceral, jarring emotion. It’s worth a listen, and is very telling of how well deliberately progressive writing can be packaged in an easily digested record.

Polyenso - One Big Particular Loop (OBPL)

Change, in and of itself is uncomfortable, not to mention rooted in the chaos that precedes it. In turn, most bands tend to find a formula that works, and stick with it for the duration of their careers. That said, every so often we are fortunate enough to witness the true transformation of a band, but seldom so extreme as in the case of Polyenso. Originally named Oceana, the band has gone over several major changes during its 8 years of existence, including breaking up, reuniting, releasing an acclaimed indie rock record (Clean Head), ditching their name in favor of Polyenso, and finally, in 2013, crowdfunding their debut as Polyenso, One Big Particular Loop (OBPL), on Kickstarter.

It should also be noted that in the midst of all of this, the band undertook a radical genre shift. Having started off as a run-of-the-mill metalcore band, they moved to brooding post-hardcore before splitting up, then reunited as a mathy indie rock band, and finally along with the name change, made a final shift towards the densely layered amalgam of jazz, folk, and indie rock that is OBPL.


So, a pretty busy few years right? Frankly, I would forgive anyone for assuming that OBPL came out a downright mess. Thing is, though, it’s not. Less than a minute into the title track “((O.B.P.L.” any preconceived notions one might harbor will disappear as the looping beats and the almost creamy trumpet lines interplay with Brennan Taulbee’s vocals.

Rather than focus on my individual favorites from OBPL, I’d like to approach my feelings from a holistic perspective. The mix is warm and dense, and each song features a varying set of textures that are best described as seductive, self-aware, and full of deep-seated emotion. I would argue that expansive range of melodies and ambient sound are what make OBPL shine. It seems that each and every instrument and line was tracked with the intent of creating a seamless experience. Judging the record on its individual parts would almost be insulting, seeing as nothing about it is overtly flashy. There is almost no virtuosity on the record. Nothing stands out, in the best of ways. OBPL is best described as an exercise in restraint and teamwork; it’s as much about what you hear as what isn’t played at all.

This is why, in my opinion, OBPL is destined to become a hallmark album, if not for the genre, then at least for any band looking to evolve. A plethora of influences and emotions are displayed in every aspect of this record. Polyenso clearly spent time refining and combing through each track – nothing sounds forced or contrived. It shows. Few bands ever achieve the level of understated complexity found in OBPL’s organic soundscapes.

Below is one of the more mainstream tracks from OBPL, “Push”.

Regardless of musical taste, you should give One Big Particular Loop a listen. If not for yourself, then at least to bear witness to how change can catalyze something beautiful.

Artifex Pereo - Time in Place

For those familiar, the post-hardcore scene isn't exactly what it used to be, but fortunately for fans, the genre as a whole is beginning to expand in size. In turn, it's sound has evolved quickly, with new bands incorporating regional and progressive influences into a familiar package. These bands are defying past trends toward what many industry heavyweights called a stagnant scene.

The fast and intriguing advancement of post-hardcore music is perhaps best exhibited by Artifex Pereo, a progressive band from Louisville, KY. Time in Place is their Major Label debut, released on Tooth and Nail Records in May of this year. It represents the explosive expression of a band that succeeds in pushing its own sound into uncharted territory. "Time in Place", in a sense, changes the essence of the influences it adapts, and is undoubtedly one of the best post-hardcore albums of the past several years

In terms of production, Time in Place borders on perfection. Kris Crummett, Engineer and Producer, tracked this record in his living room. The mix is tight, spacey, and outright excellent. Artifex Pereo offer a sound that is a perfect fit for Kris' skill set, and the results are wonderful. The vocals are airy and warm, the drums are immense, and the guitars are impossibly tight and full of dynamic finger tone.

Production aside, the greatest strengths of Time in Place are the instrumental performances themselves. Lucas Worley, vocalist, lays down dynamic melodies, while Jordan Haynes and Jamie Davis dish out expressive and intricate riffs on guitar. Cory Eaves absolutely cleans house in the percussion department, always playing conscious of the pocket. Eugene Barker, is to this day, one of my favorite bassists. He too delivers a wide array of tones and a unique interplay with Cory's kick drum patterns throughout the record. In line with this trend, the track "Laugh at the World" shows off the best of Artifex Pereo's instrumental skill, especially in terms of guitar and vocal work.

The central theme of Time in Place is the way it plays with the post-hardcore formula. The most evident example of this is the inclusion of Jeremiah Brinkworth's bluesy keys throughout the record, which bring the overall feel of each song back in time, adding a classic vibe. Nearly every track on the record, in some way turns post-hardcore on its head. Unorthodox structures in songs such as "Hands of Penance" pepper Time in Place in fluid fashion without taking away from sonic impact. "Liable for Tragedy" uses Davis' raw swooning in stark contrast to Worley's refined sound. "The Straight and Winding Way" takes full advantage of Brinkworth's keyboard work, but still is grounded in it's post-hardcore roots.

As a whole, Time in Place is a wonderful, electrifying release. There is no shortage of musical progression, and Artifex Pereo clearly revel in their ability to change your expectations on the fly. The album is not afraid to evolve itself, and strikes a perfect balance between experimentation and familiarity. Time in Place is one of the year's best, marking an incredible major label debut from a tremendously talented group.

Below is the closing track on Time in Place. "Overview" is one of the more experimental songs on the record, best showcasing Artifex Pereo's ability to twist structure and melody with genius fluidity.

If you like post-hardcore or progressive music as a whole, pick up this record. You will be doing yourself and your ears a kind, gracious service.