[Review] Mastodon - Once More 'Round The Sun

Mastodon are back and ready to get messy with another collection of experimental rock and roll and prog metal hybrids. After narrowing things down with their last album, the Atlantan band takes a step back to their roots with their latest release.
"Once More 'Round The Sun" shows the band working further on the sound of "The Hunter", but the result is much more spontaneous and wild. The band still retains some part of the formula, they generally don't stray too far from the verse-chorus-bridge blueprint, but when they do they really shine. "'Round The Sun" repeats the formula of headbanging verses and explosive, melodic choruses, albeit with a little less polish than they've done in the past.
Most of the album will sound a little bit familiar if you listened to "The Hunter" in depth but it feels more rough and messy. Even though Mastodon are heading further in the direction of their last album they aren't afraid to look into their past. Some of the songs have little hints of their earlier stuff, and while they are not as aggressive or fast paced it's still the roughest they've done in the last 8 years of their career.

Mastodon have never really been just a metal band and this album differentiates them more than ever, "'Round The Sun" is a modern rock and roll record with a taste of metal, progressive rock and stoner rock. Songs like "High Road" and the title track retain the narrowed down nature of their last release, but songs in the second half of the album are more spacey and progressive, and the closer track is probably the most "spread out" song they've written since "Blood Mountain".
Fans of their first three albums will probably welcome "Sun" with open arms, but I couldn't help but feel this album doesn't have the staying power of "Leviathan" or even "Remission". Some of the songs felt a little underwhelming or lacking, and at times I was wishing they would just let themselves loose. Brann Dailor seems to be the only member who's allowed to get crazy all the time and sometimes his drumming is what keeps the songs interesting when the rest of the music isn't on par.
Vocals have never been the band's strongest element and this album is no exception, their solos generally convey much more emotion and their riffs more fury and energy. The highest spots on this album (at least for me) are the instrumental passages on "The Motherload" and the outro to "Halloween". Actually I even enjoyed the introduction and the ending of "Chimes at Midnight" more than the song itself.
"Once More 'Round The Sun" may not be Mastodon's strongest effort, but at least they haven't lost the will to try new things.

Rating: decent

For fans of: metal (the crazier kind), stoner rock

Accessibility: average

Highlights: "The Motherload", "Ember City", Brann Dailor's drumming.

[Review] Pez - Nueva Era, Viejas Mañas

Free download from the band's website: http://www.pezapesta.com.ar/bajadas/Nuevaeraviejasmanias.rar

Pez is an argentinian rock band formed in the first half of the 90's in Buenos Aires and known for reinventing themselves album after album, as well as being notably prolific (they've been releasing albums at an average of 18 months from each other). Througout their nearly 20 year long career, Pez has included elements from genres as diverse as punk, progressive rock, jazz fusion and metal.

"Nueva Era, Viejas Mañas", which translates to "New Era, Old Knacks" is the return of the band to their old roots in punk and hard rock, though undoubtedly showing what they have learned in all these years, specially in the songwriting department. The line up is mostly the same as it was 20 years ago, Ariel Minimal on guitar and vocals, Franco Salvador (who entered the band in 1996) on drums and backing vocals and "Fosforo" García (who had contributed backing vocals on their debut album in 1994) on bass and backing vocals.

The album features distorted guitar riffs, pounding drums, groovy bass lines and an equilibrium between clean and raw vocals; the band has reduced their scope after their expansive and epic album "Volviendo a las Cavernas" from 2011. Their new formation doesn't include "Pepo" Limeres on keyboards and piano anymore, an element that was present in almost all of Pez' albums since 1998. As a result of this and the fact that the album is mostly comprised of heavy hard rock/punk songs, "Nueva Era" feels a little unidimensional compared to their previous offerings, and though I wouldn't put it very high in their album ranking it's still a pretty solid record and a fresh start for the band.

If you've been reading this blog for some time and feel identified with most of the music I review, I'd recommend leaving this album for a later date and starting with "Los Orfebres" or "Volviendo a las Cavernas" instead (you can also download them at http://www.pezapesta.com.ar/audios.html).

The lyrics have returning themes in all of Pez' albums, mainly discussing social conflicts, ideologies and existencialism.

Overall, it features everything that you could expect from a Pez album, but narrows down their sound to something more specific an simple.

8/10

[Review] Scale The Summit - The Migration

In a world where the term "instrumental metal" has become a synonym of "squeezing as many notes and transitions as possible into a 7 minute long composition" it's hard to find bands that defy that formula. When I first listened to Scale The Summit a few years ago I instantly noticed there was more to them than just 4 insanely skilled musicians playing together. 

The band has come to describe their sound as "adventure metal" and once you listen to one of their albums from beginning to end it's easy to see why, each of their albums take you on a journey through a myriad of sonic landscapes. But while their previous efforts have had songs ranging from dark, heavy, intense metal to more laid back, calm and jazzy compositions, The Migration narrows the scope a little, and not always for the best.

Through the album does a flawless job at making you feel like you are running under a cloudless sky in a cool day with the sun hitting your face, it sometimes feel like the album could benefit from a little variety. In this regard it's good that it clocks at 42 minutes, because it's an adequate ammount of time for the scope of the album.

The Migration also starts in the same way as it ends, with two fast, lush and busy songs, and it's very difficult (if not impossible) to find a point in the record that could be described as a climax. The only one that strays a little from the lively sound of the album is "The Dark Horse" which lives up to it's name from beginning to end.

All in all, these things don't stop Scale The Summit's fourth record from being a breath of fresh air in the progressive metal scene, the skill and vision of their members is beyond question and there's no doubt The Migration sounds exactly as they intended, from the sunny landscapes it paints to the way the two guitars interwine constantly, it's evident that every note has been put there deliberately. Overall, a carefully crafted and solid record that struggles to achieve the scope of it's predecessors.

7.5/10

[Review] The Aristocrats - Culture Clash

Supergroups come and go these days, often building a lot of hype before collapsing after a release or two; sometimes chemistry never happens between the members and it never really ends up being a group but just a few musicians with backgrounds too different to work together as a band. Once in a while though, magic happens and bands like The Aristocrats come around. 

Formed after a NAMM show in California that almost didn't happen, Bryan Beller, Guthrie Govan and Marco Minnemann certainly felt there was something special in the air when they first jammed together in 2011, and soon after that they released their self-titled debut album, which received good reviews all around, praising their individual talents as well as their collective sound.

Two years later the trio strikes back with their second LP titled "Culture Clash", pointing at the cultural diversity of their members. Each of them contributed three songs to the album, though if you ask me they must be in the same headspace because the album flows very well and feels very heterogeneous.

Culture Clash is more focused than their first album, there's only one song under the 5:00 mark but the songs rarely feel too long for their own good, the album is filled with groovy bass lines and drum fills as well as long, engaging guitar leads and solos.  Though the album could be defined as a fusion of rock, a little blues and jazz (even a little metal here and there) each song has it's own sound and personality, from opener Dance of The Aristocrats, which sounds like Primus without their usual weirdness, passing through bluesy, fast paced Louisville Stomp, the dry tones of Desert Tornado and the heavy hitter that is Living The Dream.

It's fairly evident for those that have seen this band live that they both don't take themselves too seriously (you can see a video of the band stopping mid song to jam with their smartphones) and that they love messing around both live and in studio, and this shows in the tone of their compositions, often adding a cheery element to it.

Culture Clash is an album for those that like shredding as much as carefully composed rock songs, balancing both sides evenly, never sounding like the band is going too far in either direction. A must for all musicians out there.

8.5/10

http://the-aristocrats-band.com

[Review] Bosnian Rainbows - Bosnian Rainbows

Most of us know Omar Rodriguez-López for the super-prolific multi-intrumentalist madman he has become in the years after At The Drive In's break up, never really focusing in just one project at the time. Having released an album and formed a "temporary" band with every musician he has come in contact with so far, no one expected Bosnian Rainbows would become his main project in so little time.

Many fans anticipated The Mars Volta's breakup since the release of their 2009 album Octahedron, but a few hiatuses later TMV was still going, and with the incorporation of Deantoni Parks on drums, Omar and Cathy Pellow (head of Sargent House and Omar's partner in his own label) heralded the arrival of a new TMV.

At the same time, Omar adopted Teri Gender Bender's band Le Butcherettes into his own label, so it was a matter of time before both had an album of sorts. It wasn't a surprise when it was announced that the newest incarnation of Omar Rodriguez Lopez Group would feature Teri Gender Bender, but the group soon had it's own name and after a few months of silence it was announced that The Mars Volta was no more.

Naturally there's has been a lot of hype about the two bands risen from the ashes of TMV (Cedric Bixler Zavala went on to form Zavalaz with Juan Alderete and a few friends), so now that the album has dropped there's no doubt Bosnian Rainbows is anything but "a new TMV", but some elements still remain.

Their self titled debut is somewhere between Noctourniquet and Omar's experiments with electronic music in albums like Tychozorente (2010) and Saber, Querer, Osar y Callar (2012). The bass has been replaced by synths, Teri Gender Bender lays down some dark, more conventional (and often punk infused) vocals instead of Cedric's anguished wails, Deantoni plays a stripped down kit while also playing keys and Omar, surprisingly, rarely stands out over his bandmates. Every instrument has the same level of protagonism, Omar's guitar playing has become subtler in the last year to the point where he's just another part of their aural spectrum.

This new equilibrium isn't all for the good though. While the album starts with a few really solid songs, it soons begins to feel a little too flat, there's few suprises after the first three or four songs, and while there's a nice variety of tunes here it feels like Bosnian Rainbows is missing an element that raises the band above their self imposed limitations. This why I feel the strongest tracks on the record are opener "Eli", which slowly builds up into it's great chorus and "Worthless", featuring an infectious drum beat by Parks, a great "solo" by Omar and again a great outro by Deantoni in the closing seconds, along with a solid performanced my Teri Gender Bender through and through.

Bosnian Rainbows could become so much more if they let themselves shine some more individually, but for now it feels like a band whose sound still doesn't feel greater than the sum of it's parts.

7.5/10

[Review] TesseracT - Altered State

There's a lot of discussion around the use of the term djent, similar to the way people use the word indie to describe a particular sound or "genre", there's a lot of musicians who either embrace the term or refuse being refered to as a "djent band".
British rock band TesseracT has separated from the djent tag not by speaking out against or in favor of being tagged as a djent band, but by expanding and growing their sound release after release; commencing with their 2011 debut LP "One" (in my opinion a masterpiece of progressive metal) and later with their 2012 EP "Perspective", introducing a new vocalist and showing an unexplored side of the band.

Altered State goes further in that direction, leaving out growling vocals completely, turning down the distortion in favor of a more processed, electronic sound and refining their songwriting. From the first song you are greeted with new vocalist Ashe O'Hara's (Voices From The Fuselage) vocals and the sound of distant, echoing guitars before the song jumps in volume through a crescendo of processed guitars.

While some songs like Exile and Singularity are long and have a strong progressive feeling about them, most of the compositions offer more traditional structures, often building around different variations of the same riff or beat. The drumming keeps the songs together, both keeping a straight 4/4 beat and laying down heavily synchopated polyrhythms regularly, which are one of the trademark elements of TesseracT's sound. The first single Nocturne is a perfect example of both these things, and it does a very good job at showing what this new record is about.

Altered State keeps things fresh and shows the band hasn't suffered at all from changing vocalists three consecutive times, an excellent record overall, and one I'll be listening to for a long time.

9.5/10

The Mars Volta - The Malkin Jewel (Single)

The Mars Volta's new single from their upcoming album Noctourniquet. You can buy the tracks from iTunes or Amazon or get a free instand download in 320kbps MP3 if you pre-order the album here (btw I'm getting that T-Shirt!). You can meanwhile listen to the song and play a fun mini game at the same time here or just watch it on Youtube.

(8.5) Thinking Plague - Decline And Fall (2012)

If I were to judge this album based on it's cover and both the name of the band and the album it would be fair to say that it looks and sounds like "another generic hardcore/metal band", but it's not!. There's one simple way to describe what this album is like: syncopated, atonal jazz-fusion... is that enough? If not then let me get a little more specific, it's like a mix of King Crimson's most "recent" syncopated instrumentals and their jazz fusion era, plus a stripped down, less chaotic Kayo Dot... with female vocals. If you don't have a general idea of what this bands sounds like yet then you're probably reading the wrong blog...
That's pretty much how the album sounds like, but what makes it even more unique is it's vocals, to begin with, it's not everyday that you find a jazz fusion band with a female vocalist, and second, the vocals are as atonal as the sax or the guitar playing in the background, as if they improvised/wrote another instrumental track and used it as a vocal melody.

Now go give the album a listen!.

http://www.generalrubric.com/thinkingplague/main.html

(8/10) Soundgarden - Live on I-5 (2011)

Reviewing live albums can be a bit difficult sometimes, generally I try not to focus on the songs itself but on the performance quality, lenght, tracklist and improvisation/extras. In this case Live on I-5 is a pretty decent live album that in my opinion is long enough but lacks variety. Of course some people may have different preferences about the tracklist, I feel most of Soundgarden's casual audience sticks to Superunknown, this may be the reason I'm not completely satisfied with it since I've heard most of their discography and I like their punk roots as much as I liked Down On The Upside which in my opinion is very underrated when compared to Superunknown. The sound quality is good enough for me, there's little to no improvisation involved (specially not jams, maybe one or two, a short jam in Spoonman for example) and the tracklist is 60% Superunknown/Down On The Upside, with the former being the protagonist (they obviously couldn't let out hits like Black Hole Sun or Fell on Black Days).

A song that is sadly missing from the album (unless you preordered it):

Regular version tracklist:

1. "Spoonman"
2. "Searching with My Good Eye Closed"
3. "Let Me Drown"
4. "Head Down"
5. "Outshined"
6. "Rusty Cage"
7. "Burden in My Hand"
8. "Helter Skelter"
9. "Boot Camp"
10. "Nothing to Say"
11. "Slaves and Bulldozers"
12. "Dusty"
13. "Fell on Black Days"
14. "Search and Destroy"
15. "Ty Cobb"
16. "Black Hole Sun"  
17. "Jesus Christ Pose" 

Matt Cameron – drums, percussion
Chris Cornell – vocals, rhythm guitar
Ben Shepherd – bass guitar
Kim Thayil – lead guitar

http://www.soundgardenworld.com/

(9/10) Incubus - If Not Now, When? (2011)

This may be the most polarizing Incubus album to date, during their almost 20 years of career they've gone from funk metal to alternative rock, and while they've always had some catchy tunes and a certain commercial format to their songwriting this is the first Incubus album I wouldn't consider a rock album... to be completely honest I didn't like this at all when I first listened to it, but once you've gone through it a few times you begin to notice that the basics of every Incubus song are there, specially on Mike Einziger's guitar parts. The rest is a laid back version of what they've done before, after listening to some 80's classics accidentally at one of my relative's 50th birthday I realized how much this album sounded like that, specially the title track. About the lyrics I think Brandon Boyd's words are enough: "it's about love and finding art and success in love. I never know what I'm going to be writing about until I'm actually writing about it. It's what's relevant in my heart and mind. There's definitely a romantic undertone and overtone.". There's still room for experimentation (the dark In The Company Of Wolves) and classical Incubus freaky songs like Switchblade, that is to If Not Now, When? what Priceless was to A Crow Left Of The Murder.

 1. If Not Now, When
2. Promises, Promises
3. Friends and Lovers
4. Thieves
5. Isadore
6. The Original
7. Defiance
8. In the Company of Wolves
9. Switchblade
10. Adolescents
11. Tomorrow's Food 

http://www.enjoyincubus.com/

(9/10) Beardfish - Mammoth (2011)

Beardfish es una de las pocas bandas privilegiadas de rock progresivo clásico que no sufre de los problemas típicos del género, no abusan de clichés, no mezclan los discos tratando de que suenen como si fuera 1974 y no se pasan de pretensiosos. Sumado a esto, vienen entregando (en mi opinión) un álbum sólido tras otro desde su debut de 2003 (a un ritmo bastante rápido) y Mammoth no es la excepción. Aunque la mayoría los suele comparar con con bandas como Genesis o Yes el estilo de Beardfish es mas pesado sin dejar de ser melódico. ¡Puntos extra por traer un dvd con performance en vivo + making of!.

(El video de abajo no es parte del dvd).

1. The Platform
2. And the Stone Said "If I Could Speak"
3. Tightrope
4. Green Waves
5. Outside/Inside

6. Akakabotu
7. Without Saying Anything

Rikard Sjöblom - vocals, keyboards
David Zackrisson - guitars
Magnus Östgren - drums
Robert Hansen - bass
 

http://www.beardfish.argh.se/

(8/10) [FREE] Charts And Maps - Dead Horse (2011)

Artwork en alta resolución.

Charts and Maps es una banda de jazz instrumental de Los Angeles que incorpora elementos de varios géneros como math rock o post rock, e incluso algunos pasajes electrónicos. Mi poco conocimiento sobre la banda me indica que vienen tocando hace unos años y decidieron lanzar este disco como testamento de todo ese trabajo. El disco es interesante y variado, por momentos entra en el terreno del rock, hay cambios bruscos muy interesantes y momentos memorables que vienen de la nada. En fin, ustedes jusguen (es gratis!):

http://chartsandmaps.bandcamp.com/album/dead-horse

1. Take Me Back to Highland Park (04:37)
2. In the Town of Machine (11:39)
3. Gold Roomer (07:01)
4. Now I Must Hit You (07:55)
5. Pearl Divers of the Arabian Peninsula (07:32)
6. Hypnotiq American Firework (08:12)
7. Dead Horse (09:28)