"The grossest pop album in history" or something like that, yea. I mean, it's weird, there are some sort of poppy elements to it, but it's still a dark, frightening album, just not as frightening as their others. It's an interesting direction for them.
Yeah. Definitely hard to explain. I think it's more like the poppiest gross album. haha. _________________ http://jonnyleather.com
RockyRaccoonIs it solipsistic in here or is it just me?ModeratorProfile Maryland
For a blackened death metal album, there are a lot of hooks on here. It's not just all walls of guitars, there are riffs, catchy riffs, riffs that draw your attention. If you were coming from a thrash metal background, you could really appreciate this album for its riffs, and it's because of that that this album really sticks out. There's still some evidence that Vredehammer is growing as a band, some of the album feels choppy and a little awkward transitionally, but that doesn't take away from the overall experience too much. It's a fast-paced album, and that's a bit of an understatement, and vocals Per Valla's vocals are heavy and brutal, exactly how they should be. It's an impressive display of the talent Vredehammer has, and if you're into blackened death metal, this is for you. _________________ Progressive Rock
This is the best Underworld album we've heard in years. It's been about five years since we've heard anything from Underworld, and this album is worth the wait. Naturally, the album starts with a piece that draws you out to dance, and it ends with a piece that makes you sit and think. It gradually goes from upbeat dance music to slowed down meditative, hypnotic dance music. Album closers "Ova Nova" and "Nylon Strung" are fantastic end caps to this album, swirling sounds that hypnotize and almost feel hymn-like. We know the Underworld is an extremely capable duo, and this album shows just how good they can still be. _________________ Progressive Rock
I think what I love most about this album is that each and every song on it is unique. Each song has it's own feel, it's own sound to it, and the sound itself is unique as well. You can really feel the frustration in this, it sounds like a drunk angry guy at a bar, but a bit more productive than that. Musically it's great too, it wouldn't be crazy of you to think there's virtually no guitar on this album, but there is, it's just used very sparingly. It's got lots of effects and is thrown in little spurts here and there. Much of the emphasis of the album is on drums and bass, it grooves, but in kind of an off-kilter way. The vocals are great too, when Gareth Liddiard sings the chorus of "To Think I Once Loved You", you feel it (the harmonies on that song are fantastic too), you feel the frustration and the resentment. Lyrically, the album is loaded with socio-political references, which just continues to fuel the anger and frustration Liddiard has. Overall, this is an incredibly interesting album that really requires multiple listens for it to settle in. It's a grower, and it grows well. _________________ Progressive Rock
Doing doom death metal is hard. It almost seems like the two styles of metal would clash with each other, doom with its slow, plodding guitars, and death metal with it's fast riffs and blasting drums, but if you're able to balance the two, you can have some amazing stuff. Inverloch are able to do that here, they delicately walk that tightrope between slow doom and fast death metal, and they make something great. It's not like it hasn't been done before, but it's difficult, and what Inverloch have added to that template is excellent. They're able to create an atmosphere while inserting blasting speed when necessary, and it's because of that variety that the album doesn't outstay it's welcome at all, and it makes for a very engaging listen. _________________ Progressive Rock
This album is really warm, I think that's probably the best way to describe it. It's one of those albums where the music and the singer's voice fit together perfectly. Lucy Dacus as a very warm, gentle voice, and the band behind her plays warm, gentle music, with little guitar lines coming in and out, like an open garden where insects and small animals just come and go as they please, all the while the flowers bloom steadily as a reminder of how pretty everything is. Dacus' songwriting is pretty solid too, the album opener "I Don't Wanna Be Funny Anymore" is a great take on identity, and who Dacus is and wants to be. She'd rather be in a band than it's biggest fan, she'd rather be the gossip of her friends. She wants to be more than just a person there, she wants to *do* something. Overall it's a very bright, warm indie rock record that makes for an enjoyable experience. _________________ Progressive Rock
I've never liked the label "Christian hip-hop". It's almost used as a qualifier, as if christian hip-hop is somehow different from regular hip-hop. I mean, lyrically it can be, depending on who you're listening to. DC Talk, and by extension, tobyMAC, often just do what are essentially praise songs in the context of hip-hop. But rappers like Lecrae, or the collective of Dream Junkies (consisting of John Givez, Beleaf, and Ruslan), will more just incorporate their beliefs into their lyrics. Can they get preachy? Sure, but so can a lot of secular rappers (looking at you Common), and I don't think Dream Junkies get preachy on this album at all. This is just a good hip-hop album, the "christian" label isn't necessary. Dream Junkies rap over very laid-back, bass-heavy beats, the only intensity in the album coming from the rappers themselves (most notably on "Boogie Man"). It's a well done album, the beats are good, the flow of the rappers themselves are great, and lyrically, there are definitely some thought-provoking, well-written tracks. Overall, a really solid album. _________________ Progressive Rock
This is the first thing we've heard from John Kaada and Mike Patton in 12 years, and it's been 12 years too long. In 2004 they collaborated for Romances, and it was haunting and beautiful, just an all around incredible album. Now we finally get its sequel in Bacteria Cult, and while it's not as good as Romances, it's still a very good album. This album is less atmospheric and much more cinematic ("Red Rainbow" sounds like it could be a Morricone tune), made with a large orchestra and a bigger focus on melody. It's a constantly changing album, Kaada's compositions switch genres ("film genres" I guess you could say) pretty fluidly, and along with Patton's dynamic voiced used here and there throughout the album, it makes for a really good album, well worth listening to.
Especially recommended to mecca, as I believe he's was a big fan of Romances. _________________ Progressive Rock
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RockyRaccoon
