Australasia - Vertebra (2013)

It's no secret that a degree in musical theory has never been a prerequisite for enjoying and dissecting music. Any band or album that would require such a stunt isn't worth your efforts. With that in mind, there are bands that can be enjoyed regardless of your preferences or prejudices. No, there is not a band, not a single one, that is universally loved. Don't even try. But bands can transcend their genre in such a way as to welcome people who would otherwise be outsiders into the fold. With their debut album, Italy's Australasia quickly asserted themselves as one of those acts, blending together the silky smooth and atmospheric qualities of post rock with the more intense and blaring side of post metal. With that release, titled "Sin4tr4," we likened their sound to a red dyed ice cube melting into a glass of crystal clear water. But was it the metal that tinged the rock, or the opposite? Only a year later, an answer may actually be found. On their new album, a ten track, thirty minute piece called "Vertebra," the overall arc of their sound begins to take shape; and as the ice cube fully melts, you have a drink as sweet and balanced as any you've ever had.

An opening track like "Aorta" works on so many levels, but the key is that it grows organically. It doesn't insist that you listen, but gives you every reason to. The light, melodic notes are fuel for the fire, an initial blast of drum and bass that while explosive in their own right, are subtly smooth. By the time the ethereal female vocals come through with chanting grace, you've already been exposed to what you thought was the complete spectrum of sounds at the bands disposal. However wrong you may have been, the boundaries here are endless, as a song like "Vostok" is quick to prove. Electronically tinged, yet heavily rooted in the layering of guitars, it beautifully constructed from start to finish. Even the kick drum has a sound all it's own here, a rousing thud unlike others you've heard. It isn't a punch to the face; it is a poke in the ribs to remind you it exists. From clean outro to thumping intro, "Zero" bends your perception again. Bass work is key here, driving the low register and elevating the high. Without that element, that firmly planted strength, the chorus of tingling bells that follows would seem flat. The end result would be a track derailed, never realizing the crushing blackened potential it boasts by the latter half.

Instead, it transitions from one to the other, and creates a stunning contrast with "Aura." You would be hard pressed to find something more soothing, more intricately constructed, and more simply beautiful than this. It is an interlude, of sorts, but one that maintains it's own identity. What it also creates is a freedom to go in any direction. A track like "Antenna" radiates outwards, starting from humble beginnings and growing into something larger than life. It is in tracks like this that the best work is done, flowing seamlessly from quiet to loud, soft to heavy, without so much as a hiccup. It is a formula that was used on "Sin4tr4," albeit in sparing ways. But it has grown into a different animal here, and songs like "Volume" only feed that beast. Instead of a trade-off, it becomes a fusion. Hidden between the layers of booming kicks and a rumbling bass line are delicate and whispered bells and cymbals. The two come together, but not in a way that leaves one with power over the other. They work together, accentuating the strengths of the other. The title track, however, focuses on the sublime. Because while "Vertebra" is a strong statement, it does so without the aid of an ounce of distortion. Instead, it utilizes chirping birds and clean guitars to accomplish it's goal.

In moments like this, the transition from previous to next, that you realize you are witnessing a double edged sword; the difference being this is the type of sword you've waited for. It cuts you from both ends, sharp or smooth. When a song like "Apnea," with electronic beats and heavenly chanted "ooo" and "ahhh" segments can cut to the heart of you with ease, it's time to admit you are witness to something unlike the daily grind. It catches you off guard, if only slightly, and makes you begin to question your own stability. But with you now rocked back on your heels, it would take only the slightest breeze to knock you over. And at that moment, "Deficit" kicks in. It marches in like the proverbial lion, cascading cymbals and snares over you. But as it progresses, it starts to change and evolve into the lamb. The way it gently fades out seems a far cry from the stomp it entered with. But, as with everything on the album, it wouldn't work any other way. For as one track ends, the next begins. And with the chorus of thunder and rain drops, "Cinema" earns it's name. You'll find your own imagery here; whether it be the view from your attic window into a rainy afternoon, or the path through a now orange-leafed wood. That personal attachment you find is what makes the track so unique, and yet so easily identifiable.

Words are just words. It's hard to use verbiage to truly communicate sound and emotion. When you sit down and listen to the music of Australasia, a lot of words will come to mind, and a lot of those will be variations of the same thing. Beautiful. Glowing. Stunning. Mesmerizing. But as much as those words make sense, they simply don't go far enough. This band is making music as an art form, as an expression of themselves. And their success, while relying completely on you to relate, is never in doubt. If you choose to spend your time trying to answer the only question that remains when the album ends, whether this is a rock album with metal influences, or a metal album with rock tendencies, you will waste a whole lot of time, and never come to an answer. And the fact of the matter is that it simply doesn't matter. Rock, metal, jazz, electronic, or any other musical genre you can name are probably present here, no one more important than any other. On "Sin4tr4," the ice cube had just begun to melt; on "Vertebra," it has melted, mixed, and given you every reason to think you found perfection.

9/10

Bandcamp - http://australasia.bandcamp.com/
Facebook - http://www.facebook.com/australasiamusic

Read more ...

Woodwall - WoodEmpire (2013)

A rhetorical question: can an album give you exactly what you expected, and still be great? Has our musical pallet become so refined that we have to hear groundbreaking elements on each and every album just to enjoy them? You can speak for yourself, of course. But somehow, bands like Woodwall are speaking for all of us. We've heard stoner metal and doom, psychedelic metal and post; not every band can spark a change in those genres. But doing those things well, and really well at that, is just as impressive as changing the way we hear them. This Italian four piece are doing just that, taking their hazy sound on the road with a new album that is both the same old thing, and the same new thing in one. They are the personification of your favorite bar, clouded with the smoke of a thousand cigarettes, yet every puff is greeted by a breath of fresh air behind it. On this album, simply titled "WoodEmpire," they don't break new ground or tread too heavily on old ground, but tip toe through all the things that make these varying metal styles great. And the result won't surprise you; or maybe it will.

While it isn't a fast and furious start to the album, the smokey undertones that coat the opening to the title track, "WoodEmpire," are no mistake. They are hazy and clouded by design, something that quickly becomes the common thread in the album. Each crunching groove, furnished by guitarist Matteo Signanini, travels through a wall of pure distortion to reach it's intended goal. For his part, he not only delivers the central melodies, but his raspy, distant voice ties those pieces together. While it seems, at times, to be chaotic and unfocused, it is quite the opposite. It may meander in certain passages, as it does around the seven minute mark, but it always makes its way back to the mainline. At this stage, it is the shifting between songs that brings it back to Earth, as "Locrian" makes oddly great use of the keyboard element. By adding that slightly spacey sound just behind the guitars and bass, it gives great depth of sound to the mix, completed by a crisp drum sound at the hands and feet of Pietro Groppi. This is a far more driving track than the last, uptempo and pounding. It clearly suits the band well, as they are at their best here. Signanini's voice takes on an airy nature, one that is as melodic as it is exacerbating. But it is "King Stuste" that will leave the biggest impression, a headbobber's dream come true. The short three minute burst has all the pieces in the right places, leading to a maniacal stomp that only a musical prude could resist. A guitar lead like this one could unite enemies and friends under one banner.

The unsung hero of the stoner genre, and most musical styles, is the bass player. But Massimo Cornali's impact can be heard loud and clear throughout the album, adding his personal touch to the opening of "Red Toad." By nailing down the low end, in combination with Groppi, he makes a three minute instrumental all the more dynamic. This leaves the ultimate sound of the album, the way it sticks in your mind afterwards, to the wild card; synth master Paolo Cipolla might not have the biggest role, but his contributions are as important as any. The light touches he places so carefully throughout the album are crucial, if not completely necessary. But his command on the towering "Walden" is utterly essential. This track, more than any other on the album, speakers well beyond it's run time. The airy atmospherics, musically and vocally, are perfected here, and the band shifts their sound to a completely new level. For some, it may be hard to believe you've been listening to the same band as before; the change is a big one. It speaks to their ability to grow within the confines of an album, and each member has a hand in that. Signanini gives his best performance on both guitar and vocal, and drummer Groppi is as crisp as possible. The only failure here is that the track has to end. Back to their crushing riffs and boisterous drums, the band ends on a high note, "Holocene/Cambrian," though not as high as the note it began on. It's a more melodic take on sludge, confident and bottom heavy as it is. This is a track meant to be heard live, igniting a mosh pit and a crowd of hands in the air.

Let's revisit that not so rhetorical question; can an album give you exactly what you expected, and still be great? There are a million different answers you could give, and none of them would really affect the way you view this album. Woodwall are doing things you'll recognize, at a skill level that makes them sound as good as the first time you heard them. It's a victory that should be celebrated for it's quality, rather than whether it's shiny and new. Because even with the wear and tear on the sludge and stoner genres, there is still a lot of mileage left on those tires. More than that, though, is the notion that when you are good at something, old or new, you can make it work for you. Woodwall are doing exactly that, to a degree that should confound you. The beats are punchy, the rhythms are tight, and the vocals are a snug fit. If you're willing to take a step back and appreciate something for what it is, "WoodEmpire" is an album you'll go back to again and again. If you've evolved beyond that point where music has to be groundbreaking and innovative to give you any sort of satisfaction or enjoyment; it's going to be a lonely place to be.

8.5/10

Bandcamp - http://woodwall.bandcamp.com/
Facebook - https://www.facebook.com/woodwband

Read more ...

The Monarch - World Without End (EP) (2013)

It's never easy to separate inspiration from the finished product. Like the Norwegian black metal bands who stand so defiantly against the presence of Christianity in their country, we can choose to embrace or deny their motives and beliefs. But it isn't always religious and political extremism that we must separate; for those who do not belong to the church in any capacity, even something as harmless as a love of your God of choice might be difficult to swallow. And despite what stereotypes may indicate, there are a growing number of metal bands, probably in the millions, that use their love of God as inspiration for their own music. The Monarch, a one man project from Vancouver, is not one that will hide what the inspirations for the name and the music came from. Jesse Janzen has seen his work garner praise from Catholic and Atheist alike, something that should, if nothing else, prove that the power of music is a great one. On his new EP, "World Without End," Janzen offers every fan the chance to "join the waves and scream your praise." Embrace or ignore the message, the music is worth the effort.

The haunting hum of "The sky rolled back like a scroll" could never been more fitting, as if rolling back to unveil the album to come. The symbolism is not wasting here, the whine of strings calling out. But it is merely the opening, allowing "Before the Throne (a multitude without number clothed in white)" to grow right before your eyes. With each fading guitar chord and subsequent crack of cymbals, it grows. But the real surprise comes in the first explosive sludge passage, seeing Janzen scream over the top of a down tuned distorted guitar. The subtle melodies, sometimes too subtle, are coated in a thin layer of screaming guitar, hammered home with each single snare hit and plucked bass string. It's in these moments, the transitions from screams to serene that Janzen best expresses himself. His versatility, though, shines brightest on "Endless Rest," a track that rises from solemn piano keys. It's beauty is in it's unwavering simplicity, but also in the fact that is unapologetically mellow. It is the final track, however, that is the most difficult to digest. On "For a thousand years (I will lay my face on the ground before Thee)," Janzen wears his heart on his sleeve, leaving behind the understated instrumental, and crooning softly over a more progressive one. It is also here that his religious dedication comes through clearest.

We are all adults; at least that is what I would like you to believe. So, being adults, we should easily be able to separate our beliefs from music. We know that listening to black metal doesn't make you a Satanist, or listening to death metal doesn't make you a murderer. Music is art. It's with that assertion that we can enjoy what Janzen is doing with The Monarch project and name, giving us something more than the stereotypical Christian rock. Sure, a heavy dose of distortion can go a long way to mask that. But Janzen doesn't cover up his beliefs with a few extra notches of reverb, or even an extra heavy scream chorus. He lets it come through without fail, without any desire to muffle it. And if your own religious views mirror those of Janzen, that adds an extra layer to this album that you can identify with. But should you be Atheist, agnostic, Buddhist, Jewish, or any of the other religious affiliations, don't turn away from it so quickly. In the first three tracks alone, you'll find a great deal of depth. If you can put aside your own prejudices, for twenty some odd minutes, "World Without End" is worth an open mind.

6.5/10

Bandcamp - http://themonarch.bandcamp.com/
Facebook - https://www.facebook.com/heisthemonarch

Read more ...

Altair - Lost Eden (2013)

The floodgate for great power metal seems to still be open. Again we bring our focus back to Italy which is becoming the leading country for power metal. With their debut album “Lost Eden," Altair creates a fantastic new world with great melodies and musicianship. It reminds me of the early albums of Rhapsody of Fire with a touch of Stratovarius. Altair doesn’t really create anything new, but they do take the formula and run with it. They know exactly what they want to achieve and they succeed. This is without a doubt one of the best power metal albums this year.

Right when the album opens up with “Prelude," the listener is transported to a mystical land that is full of mystery and wonder. “Power of the Gods” is the archetypal power metal song complete with blazing guitars and soaring vocals. What sets it apart is the songwriting and how Altair can make a song that actually creates a vivid image in your head. Every instrument and vocal line is perfectly intertwined to create one hell of a song. “Reaching the Dreams” continues the flow from the last two tracks and delivers another winner. It’s melodic as hell and has another great chorus. Simone Mala is an unsung hero of power metal. His range is fantastic and he fits flawlessly with the music. “Fly Away” starts with a riff that sounds like it belongs on Stratovarius’ “Fourth Dimension” which isn’t a bad thing. The chorus in “Fly Away” is one of the best on the album and the rest of the track is pure power metal glory. The guitar solo is very impressive. “The title track, “Lost Eden,” takes the album into a more progressive groove in the intro before having a huge, beautiful chorus. It’s another highlight on the album that continues the flow going. “Freedom is the Key” slows the album down a little. This is the only track on the album that could have had some benefits from being a little shorter. The mood is perfect as is the placement but it just seems to drag on and it doesn’t really go anywhere. “Wind of Changes” brings the speed back up to full throttle and is another great song. The chorus is the absolute best on the album. It’s thought provoking and it’s full of wonder. “Rise to the Moon” is the longest track on the album and it’s full of fantastic tempo changes and guitar work. It’s the most progressive and complex song on the album and also the best. The keyboard is a real standout. “Redemption” is a great closing track that ends the album on an extremely high and epic note. On a side note, the acoustic version of “Wind of Changes” is an incredible version of the song.

“Lost Eden” is everything power metal fans would expect out of an album. It has killer guitar work, killer vocals and a ballad. The world that Altair has created with this album is unparalleled. The album is full of wonder and mystery and begs to be listened to more than once. Every instrument is played with great talent and the songwriting skills rival bands that have been around for twenty years. It’s quite clear that every band member put one hundred percent into their instruments and that they play with a fiery passion for great metal. “Lost Eden” is another great album to come out of Italy and one of the best this year. Altair created something that just might make other bands in the genre shake in their boots. Listen to this now, you won’t regret it.

9.5/10

Facebook - https://www.facebook.com/AltairPowerMetal

Read more ...

Avelion - Liquid Breathing (EP) (2013)

The life cycle of a band is much like that of a human being; we are born, naive and innocent. We grow up, learning how to manage our lives and skills. Then, at some point down the mysterious road, we die. So, too, do our bands, good and bad. But the key difference, and perhaps only difference, is the ability for a band to return to those infant stages and reinvent themselves. Avelion, having earned their toddler steps on their first EP, "Cold Embrace," stripped down and returned to the womb last year in hopes of forging a new identity. But in that second pass at birth, they gave up everything they had done on that album, and gave back any and all genre tagging as a result. Now, with five new members and a sound that is a far cry from where they stood two years ago, it is hard to imagine this band is even the same collection of minds anymore. But with the same name on the cover, and a new vision attached to it, success isn't immediate or even guaranteed. Because while "Liquid Breathing" signals a return to infancy, the music doesn't quite seem like it had enough time to gestate and evolve into it's final form.

As the title track leads things off, there is a noticeable difference in sound and structure. Gone are the soaring vocal passages and fluttering keyboard melodies, replaced by djent inspired guitars and airy synthesizers. The newly found electronic edge suits the track well, but lacks that unique quality. With each chugging movement, vocalist William Verderi uses his breathy, lower register tone to deliver what could be dubbed as a futuristic vibe. It isn't until the final minute of the track that we get the first full explosion, an eruption of growled vocals and unrestrained keys. Having established the electronic undertones, "Ain't No Down" only furthers that cause. Break beats and borderline rap vocals in the verse stand out, and your perception of them determines for what reason. While it remains a smooth transition in and out of melodic djent, those cut aways are less successful here, minus a great use of clean piano keys that provide a haunting backdrop. It fails to mix with the foreground in any meaningful way, even with a solid performance from drummer Damiano Gualtieri. Everything comes full circle in the final track, perhaps finding balance between melody and beat inspired mayhem. It isn't that "Mechanical Faces" is the best track on the EP; it can come off as slightly contrived. But it does house some of the best individual performances, particularly on chorus vocals and keys. But lost as a result is the identity of the band, falling into the trap of anonymity.

Major lineup changes are sure to alter the sound and direction of a band. But keeping the same name may be doing members, current and previous, a disservice. Avelion had begun to forge an identity two years ago, carving out a niche in the progressive metal genre that gave them a great deal of promise. But now, having replaced nearly every piece in the puzzle, they are left to try to figure out a way to make those oddly shaped parts fit together in a cohesive way, something that seem to struggle with on this EP. Perhaps it is more in the expectation that comes along with the name (like when every Metallica fan heard "Lulu"), but there is something missing here that can't be fabricated. By no means is this the end; as we said some two years ago, with time, Avelion may grow and develop into a band for the discerning masses. But having started over, they have stunted that process, and found themselves at the beginning. Much like the birth the title references, "Liquid Breathing" is in it's gestation period, with a long way to go until it's ready for the world.

6/10

Facebook - https://www.facebook.com/AvelionMusic.Official/

Read more ...

As Autumn Calls - Cold, Black & Everlasting (2013)

There is some degree of pride involved in listening to a band before they make their big splash. We are all metal hipsters at heart, really. Yet there is that lingering part of us that wants our favorite underground bands to make it big; whether that be for their own good, or just so we can utter those words, "I liked them before they were big." Regardless of the reason, the time always seems imminent. As Autumn Calls have done everything right thus far, enough at all to have garnered themselves more attention than their Facebook following would indicate. They are as musically diverse as any and all in the doom sphere, adding new meaning to the atmospheric front of the genre. For more than two years, we've sat and eagerly awaited their next move, a long worked on and advertised follow up to the masterpiece that was "An Autumn Departure." Finally, Canada's answer to their own pop music transgressions has arrived. Was it worth the wait? Maybe "Cold, Black & Everlasting" will be that breakthrough we've waited for; and they deserve.

It seems fitting, at least, that the piano intro to "Haunting" not only begins the album on a chilling note, but also bring to life the album artwork itself. The distortion heavy verse sections would be more than enough to pull in the most discerning listener, but it is the shifting acoustic passages that do the most powerful work. For every point, a counter point. For every grating growled vocal, a clean one. It's contrast at it's best, an exercise in melodic sensibility and creativity. Those moments aren't limited to vocals, however; they extend to the leads, as well, a single thread that runs throughout the nearly eleven minute track. It is worth noting than the time in which the album was constructed, a period of two years, has led to tremendous growth in every aspect of their sound. The clean vocals on "Black Night Silent" are moving and refined, laid ever so gently atop a whining guitar lead. This is time for the rhythm section to shine, managing to still maintain a level of heaviness, even in down tempo times. By now means is an explosion out of the question; it comes in the latter half, blasting kick drums welcoming back a deep growl. It is the start of something bigger.

"These Doleful Shades," for all twelve minutes of it's reign, is as masterful a doom track as we've heard to date. It nails down the balance between airy atmospherics and downtrodden gloom, while somehow never letting go of the melodic silver lining. It feels effortless, the transitions from woeful to blaring and intimidating. The last third of the track sees the band take a darker turn, inflicting their own brand of pain onto the listener with an onslaught of drums and unbridled screams. There is something to be said about an album following a central theme, and this album does that with tremendous subtlety and skill. Everything ties back into that artwork, with "The Light That No Longer Shines" keeping that dark wooded scene fresh in your mind. The song has a quality that is difficult to voice, one that allows you to sway with the beat, without becoming predictable and one dimensional. No one element dominates the others, as they come together in a beautiful, albeit fractured harmony. It's impact, as a result, grows in leaps and bounds. The last distorted notes fade, pulling you along with them into a momentary silence.

The final series of tracks, all rooted in the darkness, are easily lumped together. By no means does this mean a lack of diversity between them; quite to the contrary, they merely share a common theme. "Darkness Reflected" has one of the more intoxicating melodies on the album, despite finding itself in a sea of ringing distortion. But as it emerges just after the two minute mark, the band hits a chord here that rings true. Simplicity reigns supreme, delivering something digestible, repeatable, and wholly impressive. It reminds as that the shortest track on the album doesn't have to be bereft of depth. The outro alone is a defining moment. Having been reflected, the darkness is now confined in the second piece of the trilogy, returning to the beautiful melodic roots in the opening. Lightly strummed acoustic strings blend so well with the single electrified lead, something few bands have managed to truly perfect. But here the clean bolsters the distorted and vice versa. And once again, there is a dynamic shift for the closing minute, one that ignites the fire before the finale. And as the closing track, "Darkness Everlasting" is everything you would expect from a band at the cusp of greatness. They hit their most emotionally charged notes here, both in the acoustic and vocal capacities. It reinforces the personal investment made by the band, and passed along to the listener through a series of clouded guitars, drums, and lyrics.

Perhaps one day, we will be the one to determine if and when a band has "made it." It would be both an honor and a horror for you and I both. But until that day, we can merely express an opinion. We weigh the pros and cons of each and every album, looking for a way to quantify it. And As Autumn Calls have made that part of the process truly easy. Over the last 25 months, they not only grown as a band, but their music has grown in so many facets, that it is nearly impossible to list them all here. Notably, they have found themselves in rarefied air; they have reached a nirvana, of sorts, that allows them to combine clean and dirty in a way that just works. The scales are not tipped in one direction or the other; instead, they are perfectly balanced, steadfast and solid. But at no point do you know exactly what will come next. You might get a long, clean passage. Or it might be immediately dashed by a rousing break. You don't know when, or even if, it will come, but it is there, lingering, looking over your shoulder. Whatever your pleasure, you'll find it on "Cold, Black & Everlasting." And let we, the staff at Sorrow Eternal, be the first to declare that Canada's As Autumn Calls have new album; and they have made it.

9.5/10

Bandcamp - http://asautumncalls.bandcamp.com/
Facebook - https://www.facebook.com/asautumncalls

Read more ...

Lalu - Atomic Ark (2013)

In the long tradition of keyboard based metal, there has always been the need for a keyboardist that is both transcendent and creative beyond the norm. Without that visionary effort or talent, it is difficult to achieve top level results. Vivien Lalu is the kind of talent you search for; but he isn't a hired gun. His full band project, Lalu, is progressive at heart, but with so many tangential elements at play, that it becomes difficult to put your finger on exactly what they are. With marginally big names attached, both in regular and guest roles, Lalu has surrounded himself with top level talent, attempting to make an album that lives up to their 2005 debut, "Oniric Metal." But what he has done here is dig a talent pool so deep, so dense, that it would be difficult not to release a masterpiece of some kind. As a result, the sophomore slump is no worry, and "Atomic Ark" is a well conceived, well produced, and well executed taken on progressive metal that is as prolific as the name it bears. 

You'd have a hard time ignoring the early onset groove of "Greed," nor should you try to. Forming the backbone of the mix, guitarist Simone Mularoni may fill the rhythm role more often than the lead, but he does so in a way that is driving. The verse sections take a simplistic approach, while the tempo and intensity kicks up on the chorus, with vocalist Martin Lemar tasked with the none too easy job of completing the chain. His voice may not grab headlines, but he fits the bill here, providing an airy element to the mix. More pressing is the duel between Mularonia and Lalu himself, trading blows in a combination solo. That dynamic comes into play frequently, with tracks like "War On Animals" allowing the two to coexist in a way that makes them both stronger. The subtle intricacies that you'll find buried beneath the surface make the song that much better, whether they be the smoothness of the bass line, courtesy of the familiar Mike LePond, or the way Lemar bends his voice to fit into tight spaces. The shifts in spotlight are as numerous as the tracks themselves, and "Tatonka" sees Lalu splitting the main focus with drummer Virgil Donati. His bombastic style does wonders in the heavier segments, while his precision is key when the clean guitars take the lead. Lalu takes the refined approach, adding a layer of piano keys that dazzle as much as they shine..

The short but intensely sweet "Mirror Prison" is a ballad by definition, yet it extends beyond that word. Lemar's goes high and low, trembling along the way. The soft picking of clean guitars creates a mood that matches his tone magnificently, as a gently atmospheric keyboards glide you to the finish, and into "Deep Blue." They become parts of the same whole, almost as if one is the appetizer, and the other the main course. With the entree, you might not rise above a low simmer but thanks to the marvelous cohesion between all the pieces, it feels complete. Donati's input, in particular, does a tremendous amount of leg work here. More than how it sounds, though, is how it fits into the scope of the album; that is to say it is a fitting transition. Turning to the more avant garde side, "Bast" is an album highlight, thanks to the varied and ethnically tinged instrumentals. Mularoni hits the chugging passages with a delicate sense of timing, while Lemar soars over the top, only to come crashing back with a series of unexpected screams.  The track culminates with a winding, chaotic guitar, drum, bass assault. But where "Momento" begins couldn't be farther away, a beautiful melody that rises and falls throughout the track. Every element shines here, with the rhythm section taking a commanding performance to new levels entirely. LePond and Donati bunker down in the low end, and add punch to a mix that would be little without it.

That same system works for "Follow The Line," one of the larger sounding productions on the album. Lemar, still forming his own identity, is at his level best here. But in addition to strong performances from al the key players, you have a jazz funk thread that runs throughout, eliciting a head nod or ten along the way. Harnessing a lot of the left over raw energy, "Slaughtered" is a track as unique as the band itself. Between the carnival atmosphere of the bridge, and the intoxicating layered vocals that follow, you have a lot to digest, in the best possible way. It leaves, of course, only the closing track to finish the job. When that finale is nearly twenty minutes, it becomes an album in and of itself. It takes on a life of it's own, with a handful of different movements contained with its walls. It hits on all levels, with few flaws for a track that boasts this length. Lemar, however, has a mixed effort here, his grunts sometimes feeling forced, especially combined with a lyrical performance that doesn't stand up to the rest. But as he regains form, so, too, does the track at large. Lalu orchestrates a brilliant mix here, finding that delicate balance between all of the pieces at play.

There are numerous takeaways from this album that deserve mention, and not nearly enough space to mention them all. But what Vivien Lalu has accomplished here is nothing short of a rousing success, keeping the sound all his own, while still absorbing the input and talents of musicians in the upper echelon of their craft. There are no true pitfalls to be found; the tracks are, for the most part, short and deliberate, leaving no room to a listener to get bored or reach for the skip function on their player of choice. But what remains most impressive on the first listen as it is on the twentieth is the ability to flip the switch, and go from blaring and dynamic to soft and brooding. It's as if they know exactly when to exercise restraint, and when to let loose with the bursts of creative energy. Much of that skill traces back to Lalu, and his ability to blend and manage his worthy constituents; but they deserve the shared credit, and they've also bent their normal output to fit into that larger mold. That give and take is exactly what you need to release an album as strong and unique as "Atomic Ark."

8.5/10

Official Site - http://www.vivienlalu.com/
Facebook - https://www.facebook.com/vivienlalu

Read more ...