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!
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.
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.
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.
