Nine Inch Nails - Hesitation Marks (2013)

Listening to a new Nine Inch Nails album is always a journey. Sometimes the albums have to grow on the listener to get the full effect. “The Downward Spiral” and “The Fragile” aren’t easy listens the first time, but their full genius comes out after a couple of spins. Once the albums click, the reward is immense. Trent Reznor created transcendent masterpieces with those albums. After “The Fragile” however, the music took a little turn and while they were good in their own right, they just didn’t have the substance that the earlier albums had. “With Teeth” was more accessible than previous efforts and it wasn’t really that good. “Year Zero” got back to the noisier sound but it still wasn’t quite up to par. “Ghosts I-IV” was a great instrumental album while “The Slip” brought NIN back to the “With Teeth” sound but was a little better than the latter. Now five years later, Trent Reznor has given the listeners what sounds like the true successor to “The Fragile.” “Hesitation Marks” is an absolute triumph and a welcome return to form. The album rarely missteps and is by far the best album in fourteen years. Yea, it’s that good.

The album opens up with “The Eater of Dreams” which sets the mood perfectly for the rest of the album and is a perfect intro to “Copy of A.” “Copy of A” is one of the best tracks on the album with a beat and chorus that will get stuck in your head for days. “Came Back Haunted” is another great track that sounds like it was written for “The Fragile.” It’s such a welcomed song and it shows all the nay-sayers that Trent Reznor is still capable of writing great fucking songs. “Find My Way” slows things down in a good way. It’s soothing and somewhat pretty sounding. The music sounds like it’s off of “Ghosts I-IV” and it creates a haunting picture of beauty and loss. “All Time Low” takes the album in a different, funkier direction. Even though it’s different that most of the NIN material, it’s still incredible. Chalk it up to another great track on a stellar album. “Disappointed” goes back to the electronic sound that started the album off, but isn’t as good as those tracks. It’s not a bad track, it just goes on a little too long and doesn’t really have a payoff. Although if you took it off completely, the album wouldn’t have the same vibe.

“Everything” is probably the biggest departure from anything Trent Reznor has done. It’s a straight poppy rock song with guitars that sound like “Wish” era The Cure. It also has harmonies! Even though it’s a big departure and it’s poppy, it’s still a good song that fits perfectly into the grand scheme of the album. It’s also one of the most happy sounding songs he’s ever written. “Satellite” is a good track that doesn’t do anything new, but keeps the album flowing perfectly. “Various Methods of Escape” is another personal favorite that just hits the nail on the head. Everything about the song, from the music to the vocals, just works. Yet another high point on the album. “Running” is another track that is so-so. Again, it keeps the mood of the album but it just doesn’t do anything to keep the listener engaged. It’s probably the only skippable track on the album. “I Would For You” brings the album back up and delivers a solid song that won’t be forgotten. The atmosphere in this song is absolutely perfect. “In Two” is a strange track that needs a couple of listens to get the full effect. “While I’m Still Here” and “Black Noise” are basically the same track and the album couldn’t close any better. They’re slower songs and mostly instrumental, but the album feels completely wrapped up once “Black Noise” is over.

So there you have it; the best NIN album in fourteen years. Don’t be fooled by the pop approach on some of the tracks, everything falls into place when the entire album is heard. As with the rest of the NIN albums, it’s supposed to be listened to all together, not just single tracks. With songs like “Copy of A”, “Came Back Haunted,” "All Time Low,” and “Various Methods of Escape,” it’s hard to ignore “Hesitation Marks.” Even though a couple of the tracks aren’t as good as the rest of the album, this is still the record that every NIN fan has been waiting for. The beauty of it all is that it gets better with each listen. There are so many layers and little details that the other albums lacked that make “Hesitation Marks” great.  Alright, enough of my praise. Listen to this album now. It’s a true testament that shows people that Trent Reznor still knows how to make great fucking music. 

9.5/10

Official Site - http://www.nin.com/

Facebook - http://www.facebook.com/ninofficial

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Past Undone - Time Lapse (EP) (2013)

We've all seen those pictures of metal bands before; all of the members, wearing black, stare intensely at the camera. You wonder, maybe out loud, what they are thinking about, or how hard they have to focus so as not to crack a smile. The band photos of Past Undone are no different, with all four members (two male and two female) dressed head to toe in the most dominate color, looking directly into the lense as if they are looking through the camera, and into your soul. Farbeit from me to guess what is on their minds; only they would know for sure. But listening to their new EP, "Time Lapse," I could venture a guess or two. In their eyes, you'll find a confidence that maybe, just maybe, their symphonic, progressive doom metal will hit you like a ton of bricks. Or maybe, just maybe, that their atmospheric melodies and distinct vocal performances will have you scouring the internet for more like them. A picture is, afterall, worth a thousand words. Whatever the case may be, "Time Lapse" is sure to be a lot of things to a lot of people; these three tracks ay more than any photo ever could.

The opening to "Condemned by Scars" is heavy, but not in the basic way you'd think. With the mix packed full, syncopated drums punctuating every beat, it immediately weighs down on your shoulder. Yet, at the same time, it is structurally sound from all side, including a dual set of vocals that are surprisingly balanced. A melody permeates the entirety of the track, driven very deliberately by the strong bass and keyboard components. It's a mixture that works beautifully, yet mysteriously. Going further, "Place in Heaven" actually takes that dynamic even further, taking you down a haunting path. The tempo here is slow, but by no means is it boring. They've colored outside the lines, and injected an intensity in the drum work that adds a jolt to each and every kick. But here, it is the female vocal that blows you backwards into your seat. As she pushes the boundaries of her range, your eyebrows raise, and your eyes widen. The title track is like an awakening, a snap to attention that you simply can't ignore. With the deep growls of the verse, the damn nearly operatic vocals of the chorus, and the sheer density of the guitar, bass and drums, you would be hard pressed to listen only once. But it is the way those things play off of each other here that makes the world of difference.

There are times, as most review writers would probably agree, where a score is very hard to determine. You've weighed the pros and cons, tallied up points and deductions, and you stare at your screen blankly, hoping a number magically appears. You could wrestle with it for hours or days. Luckily, Past Undone have taken all of the hard mental anguish out of the review process here, and given us something that we can be certain of. There are no cons to be found on this offering; not a single thing stands out as being inherently wrong or unpolished. They've done it all. Three songs, spanning almost exactly twelve minutes, with not a single second of time wasted, miscalculated, or misused. Every track, separately, is packed to the brim with a stunning and nearly unmatched combination of airy tones, distortion, and beauty. And together, they flow in a way that elevates them to new levels. It seems like "Time Lapse" might be the EP that is too good to be true. But, I assure you, it's real. And it is everything you want it to be.

9.5/10

Bandcamp - http://pastundone.bandcamp.com/
Facebook - https://www.facebook.com/pages/Past-Undone/555965854445885

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Blizzard At Sea - Certain Structures (2013)

It was said decades ago that space was the final frontier. We've explored so much, and yet there is seemingly endless corners of the galaxy to see. Unless you can claim to be one of the chosen few who have been fortunate enough to visit the vacuum that expands all around us, you have to find other ways to get the feeling of floating. Iowa City three piece Blizzard At Sea are no strangers to the concept of space and it's mysteries. Having tackled some intelligent material on their first two offerings, their career could be likened to early rocket launches; with each take off, they go further than before, hoping to one day reach the stated goal. But with their first full length album on the way, it was time to move beyond the "small step for man" effect of their EPs past. With a successful Kickstarter campaign funding their return to the studio, they emerge ready to make the transmission their adoring fans on the ground below have been waiting for. In a crackling, barely audible message, they declare that "Certain Structures" is the giant leap we've been waiting for.

Having forged a style that is immediately recognizable, "Under The Firmament" is the epitome of what Blizzard At Sea has become. With the guitars and bass work now tightened to absurd levels, they tighten their grip around you within mere minutes. Drummer Pat Took, then, must keep pace; which he does with a eclectic barrage of snare and cymbal combination that pack every bit of the punch necessary. While they infused melodic vocals on their last EP, the band now flows seamlessly between clean and growled lyrics, with the former sometimes taking on the form of chanting. By allowing everything around it to grow organically, they keep each passing movement fresh and vibrant, including the warm beginning to "Subjugated Apophenia." But when the time is right, something only they could figure out, the waves crash down with little to no regard for the safety of man, woman, or child. By no means are they reckless; each stanza is timed and executed with brutal precision and a keen sense of conceptualization. There is, however, a new wrinkle to the mix here, with some beautifully spacious post-rock sections that cleanse your pallet before the next taste of sludge.The title track, "Certain Structures," could be looked at as the mission statement of a band on the rise. Mastering the on and off switch - the one that controls the weighty riff work - is a learned skill, one that guitarist Steven Douglas Ross can now add to his resume. Transitioning from dense chugging to widdling solo is no easy task, and it is handled here without so much as a hiccup.

From the clear to the unclear, "Invisible Surfaces" is a directional shift, from aggressive to atmospheric. Clean guitars, with minimal backing, drip through your speakers. Layered on top of them, a clean vocal that reinforces the maturity seen in their career arc. While there are some who might find this sort of effort to be contradictory to the album as a whole, it's impact on the following track, "Almost Awake," is undeniable. With the mood set, much like the exposition in your favorite book, it allows for musical freedom. The rhythm section dominates the verse here, with bassist Jesse Cohen's work being felt in the rattling of your chair. There is something that becomes noticeable in the mixing aspect of the album here; the clarity of the drums is impressive, allowing each element of the kit to stand out from the others. With that strong foundation at the base of the mix, it elevates Cohen and Ross, as they lay down a catchy, almost mind altering chug and slide combination. For a track that goes well into double digits, there is no shortage of tempo changes and shifts, including arguably the best solo the band has gotten onto recorded media. The track fades, as do you, floating off into some distant space, only to be dragged back by the much more insistent "Planeswalker." The vocal line here boasts a new degree of power, drilling into your pre-frontal cortex like a knife through melted butter.

The final trio of songs sees yet another change, but this one coming in the dimensional field. Anyone outside of the bands inner circle that says they could have predicted the clarity, beauty and dream inducing simplicity of "Anomie" is either a pathological liar, or a soothsayer in need of study. It seems to come out of right field, or left field, or a magnetic field; but this is not a one off. Sure, it's clean guitars are replaced on "Dreaming Of Distant Things," but it is the spirit that remains. They embrace all things post-rock here unlike ever before, making the title seems all the more perfect. Took as it his very best here, his drumming doing more than forming a pedestal or base; he actually commands the lead at times, an array of snares, toms, and metallic clang of cymbals adding to the ambient, albeit heavy, melodies. One of the more impressive album comes at its conclusion, with the finale track "The Golden Hour" coming at you on two different levels. The track, clocking in at eight minutes, is a journey of its own. Hazy guitars and bass echoing through measures after measure. There is no lazy, convoluted filler to be had here.  But it is also the apt conclusion to the floating journey the album has taken you on. That significance can not be lost here.

There is always going to be a certain amount of skepticism involved when a band makes the leap from Ep to album. It has little or nothing to do with talent, as it does with concept. Blizzard At Sea have proven, through their first two releases, that they have mastered the sort form recording. But with "Certain Structures," they have proven to both themselves and their growing legion of fans that three songs is not their limit. Instead, they've carefully thought out, planned, meticulously organized their thoughts, and put them onto digital media in a way that is both profound and reassuring. There will, undoubtedly, be a certain amount of prejudice that you'll have to let go of. This isn't "Invariance," or even "Individuation"; nor should you want it to be. It goes beyond what those two EPs did, harnessing all of their elements and adding more along the way. You'll get everything that made you believe in the first place, enough to make you realize that there is far more to come. Because while the structures of which they write might be certain, they are expansive, and sometimes boundless in nature. And it could take years before we finally explore them all.

9.5/10

Bandcamp - http://blizzardatsea.bandcamp.com/
Facebook - http://www.facebook.com/blizzardatsea

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The Podcast: Episode 96 (Save your bitchin' for the kitchen, idiot)

With Brian and Rachel back in the office for the podcast, we delve into so many pressing world issues. Not really. We talk about body odor and metal albums. Brian has a rousing endorsement for the latest Tierramystica album; seriously, it's like a threat. Listen, or else. The new Avenged Sevenfold album, on the other hand, is the exact opposite of that. Darrell has good things to say about Die Like Gentlemen, however bizarre their vocals might be. But mainly, we talk about random metal things, and stories, and go on and on about random shit. Why? Because we have the microphones, and that's what we do.

A special thank you this week goes out to Russia's own Antillia, for graciously allowing us to use their amazing track "La Diosa Fredda" for our podcast. The track, a metal take on the classic "Legend Of Atlantis" song is available on their new EP, "Last Starfall."

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The Podcast: Reader Questions, Volume 9

Somehow, you guys keep coming up with questions for us, and we keep coming up with rambling, silly answers in return. This week, someone out there wants to know who our guilty pleasure bands are, what we think of the names that bands pick for themselves, and our feelings on Kickstarter and the like. Needless to say, there are rants and tangents galore!

A special thank you this week goes out to Russia's own Antillia, for graciously allowing us to use their amazing track "La Diosa Fredda" for our podcast. The track, a metal take on the classic "Legend Of Atlantis" song is available on their new EP, "Last Starfall."

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Die Like Gentlemen - Romantic Delusions of Hell (2013)

Band: Die Like Gentlemen. Album: Romantic Delusions Of Hell. Style: Well, now, that is a different question entirely. hailing from Portland, Oregon, this four piece act has a sound that could easily be described as different. Separately, most of the pieces would sound familiar. But together, they form bonds, and create new molecules of metal that might not have been heard in this form to date. Thanks to the addition of strange new elements, namely a vocal that is as odd as the oddest of odd things, they manage to both define and redefine their own genre numerous times over the course of forty minutes. Simplified, where is damn near impossible to do here, they are taking on the new wave of sludge, but with their rose colored prog glasses resting gently on their collected faces. By no means are we comparing the confusing rollercoaster ride of "Romantic Delusions Of Hell" to any particular classic Hollywood film; But in the world of modern metal, you have your Citizen Kane's, your Die Hard's, in 2013, we finally got our Dr. Strangelove. 

It's hard to hide the layer of polish and richness that emanates from "Covetous," as the prog tones dominate the early going. As delicately played as the guitars are here, it is the bass line that becomes the focal point. But it also provides your first glimpse of the unique vocal style that will be your guide throughout the album. Somewhere between melodic crooning and amelodic shouting, depending on what point of the song you skip to, it can be endearing or simply confounding. It adds to the depth of the recording, in an odd way, but also reinforces the head swaying ability this music has. They've found a dynamic here that is rare, truly taking on the progressive sludge tag. It carries through, well into "Setting The Features," which is again bolstered by a bass line that is subtle but powerful. Everything is done with a smooth texture, never jumpy or scatterbrained. But as the instrumental gains strength, it is the vocal that now seems off putting. Having lost any sort of melodic edge, the raspy yelling just doesn't match the tone of the rest of the band. It actually runs contrary to the main groove, a distorted guitar riff that could easily inspire a crowd to rock back and forth together.

Luckily, that particular vocal delivery is fleeting, and returns to a much more digestible one on "Ten Hells." This may be the one instance where it shares a much due spotlight with the guitar leads, and adds something special to the mix. The band finds their strongest points when they wander from the center, and go off on tangents within the track, as they do several times here. The ability to not only seamlessly go from hazy to focused, but murky to melodic is a talent that should be mentioned over and over again. Even as the vocal line does acrobatics, the down tempo grooves continue. The song that may garner the most attention is the eclectic anthem "Lair Of Zargon," which contains easily the most catchy guitar hooks on the album. Strange as it may seem, it'd be hard to keep your feet from tapping to the beat. Where it fits onto the album, though, remains to be seen, as it becomes a sideshow to the main event. It's the pacing that makes "Reign In Hell" work on so many levels; or is it the ringing distortion? Regardless of what your main takeaway from the track is, it has an undeniable knack of catching your ear and holding on for dear life. The vocals now rest, halfway between their best and worst aspects, and finding that balance may have been the key to getting this far.

It's unlikely that you will find another album, this year or any other, that has such a lock-tight grip on the bizarre and varied. From start to finish, Die Like Gentlemen keep you moving right in step with them, thanks to a style all their own. You want to keep listening, just so you can see where they go from here. But by no means do they have to drag you kicking and screaming; their music is the carrot on a stick, leading you along the path. With a mere five songs, they have forged an identity, something that can take some bands years, or even their entire career. Yes, some moments are stranger than others. Hell, some moments might make no sense at all, thanks to Peter Steele on ten packs a day vocal lines. But when you put some new logic to the test, it all comes together... somehow. Not everyone will appreciate the weirdness that "Romantic Delusions of Hell" puts out. But chances are, if you let down your guard for a minute, you'll be hooked too. Join the club.

8/10

Bandcamp - http://dielikegentlemen.bandcamp.com/
Facebook - http://www.facebook.com/DieLikeGentlemen

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Aberration Nexus - Libro Iacet (EP) (2013)

One visit to the Bandcamp page of Australian one man band Aberration Nexus and you will find this: "Spawned by a hatred of man & an even greater hatred of the pitiful religions he so dearly clings to...no one will be spared in the days of the Great Cataclysm...your prayers are empty...nothing will save you..." It reads like a manifesto, one that could have come from any number of bizarre hate groups. As hate speech, it would be frowned upon in most parts of the world. But as a window into the influences of a musician, it says so much. Chris Meyer, the lone member of this blackened metal project from Ballarat, isn't shy about the inspirations for his music, nor should he be. After all, when you take up the sword of black, there is an implied hatred of all things religious and mind numbing. The evil overtones that have accompanied this music are no secret; in fact, they have become synonymous with the people and bands who define it. On his debut EP, "Libro Iacet," Meyer gives us a look through his window, at a world that is bleak and full of despair; and still a bit rough around the edges.

After the short intro track "Rite of Eternal Dominion," there is a mood in place that Meyer must be pleased with. Now that the haunting sound of piano keys and effects has faded, he has a blank canvas to create something else entirely. Without wasting any time, "Hawking" delivers a massive blow early and often. And while the main focus may be on speed and intensity, he leaves plenty of room for sheer brutality. Wave after wave of instrumentation pours through your speakers, but what is lacking is the clarity and division between those layers. In the all out assault areas, like the one that surrounds the three minute mark, it becomes difficult to sort through the individual pieces, leaving only a clunky mix that is coated in the metallic clang of cymbals. A victory is scored on "Iconoclast Soliloquy," though, as Meyer puts together a well rounded effort that combines not only the entire spectrum of black metal elements, but infuses a dose of melody through his guitar work. He achieves a much greater balance here than on any other track on the EP, with each segment of rolling kicks becoming punctuation for the movement, rather than a murky mess. The vocal assist, courtesy of melodic death metal band Catacombs' Matthew Askeland, adds an extra punch.

But for every punch, there is a counterpunch, and the bombastically unrestrained "Burn the Book of Lies" is a punch that might not land as squarely as desired. Seemingly straight forward at first, the track descends into chaos soon after the midway point. it isn't for lack of planning and execution on Meyer's part, though. The track takes a decidedly disjointed turn when the guest guitar solo kicks in, throwing off any tone or flow that had been established to this point. It feels more tacked on than organic, and serves little purpose to the larger whole. If nothing else, the final thirty seconds captures the evil that was intended. Once again on his own, "Graced With Darkness" reverts back to the traditional blackened sound, bringing back the raw energy that has permeated the album at nearly every turn. There are twists along the way, as a squealing guitar passage leads into magnificently performed chanting. getting into, and subsequently out of, that portion shows a real understanding of the music he makes; it cuts away to the clean chants, initially. But his screeched vocals rejoin at the tail end, leading it back to the slaughter. After another round of shredding guitars and a drum kit that never sleeps, those same chanting vocals return to take you to silence.

Inspirations for metal musicians can come in so many forms. Puppies and kitties, death and decay, or even religious beliefs of all kinds. Whichever facet of the world gets your creative juices flowing, will ultimately put a stamp on the resulting work. And while songs about butterflies and tweeting birds might provide a much more uplifting experience, that just isn't the bolt of cloth Chris Meyer is cut from. His detest of mankind and the religious beliefs that have corrupted our own moral codes is palpable here; I would venture to say you can almost taste it. And that frankness, whether you agree or disagree with his premise, makes the album all the more apt to make an impact. There are rough patches scattered throughout that do a disservice to his work, mainly in the production aspect. But the beauty of what Meyer has done here is that the evil, the ferocity of his work cuts through all of that murkiness like a knife through a Bible. He has captured pure evil in his vocals, and a sinister tone in his instrumentation. That might not be enough to win him any awards, but "Libro Iacet" speaks louder than a Grammy.

7/10

Bandcamp - http://aberrationnexus.bandcamp.com/
Facebook - http://www.facebook.com/AberrationNexus

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