Jonathan Hill

A Soapbox for Uninformed Opinions

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Front Line Assembly Echogenetic Review

General Information:

Artist: Front Line Assembly
Album: Echogenetic
Genre(s): Electronic, Electro-Industrial
Subgenres(s): Dubstep
Released: 2013
Length: 58 minutes
Language(s): English
Label(s): Dependent Records, Metropolis Records

Track List:

01. Resonance
02. Levelled
03. Killing Grounds
04. Blood
05. Deadened
06. Ghosts
07. Echogenetic
08. Exhale
09. Exo
10. Prototype
11. Heartquake

Front Line Assembly Echogenetic Cover

Front Line Assembly Echogenetic Cover

Front Line Assembly Echogenetic Review

With Echogenetic, Front Line Assembly has fully embraced their dubstep influences that first came about on the Airmech soundtrack from the previous year and they’ve made it central to their sound this time around. It’s a natural progression to what they were already experimenting with so this development shouldn’t come across as that much of a shock to most fans.

The electric guitars featured in many of their other albums are absent entirely and while Front Line Assembly have retained their grotty industrial aesthetic that conjures up scenes from a decaying dystopian city, the direction that the music has taken is accessible without having to latch onto the “brostep” style of artists like Skrillex or Excision so hardcore fans can rest assured that the band are still very much themselves.

A new dynamic within the group has clearly influenced their direction. Along with Bill Leeb and long-time collaborators Jeremy Inkel and Jared Slingerland, they reunited with Craig Johnsen and Sasha Keevill who both contributed to the Airmech soundtrack. For Echogenetic they worked in 2 separate groups consisting of Jeremy Inkel and Sasha Keevill in the first and then Jared Slingerland and Craig Johnsen in the second with Bill Leeb jumping between them. Every few weeks all 5 contributors got together to go over the material to critique it and add new elements to the songs.

Killing Grounds exemplifies what Front Line Assembly is capable of doing within dubstep as this song in particular has plenty of momentum and memorable moments. Some other songs lack the immediate appeal that you easily recognise here so they take a bit more time to grow on you. On the other end of the spectrum is Prototype, an instrumental that could have been accurately retitled Archetype. It’s packed full of interesting twists and turns while avoiding any and all accusations of being comfortable background noise because it is something that commands your attention.

Echogenetic is a focused effort that should have been shook up with more varied tempos or even by bringing back the guitars for a few songs to avoid this pleasant plateau that the band seems to have found themselves on although this unlikely fusion of genres also makes for an interesting album beyond any novelty you could associate with it.

Performers:

Bill Leeb: Vocals, Electronic instruments
Jeremy Inkel: Electronic instruments
Jared Slingerland: Electronic instruments
Craig Johnsen: Electronic instruments
Sasha Keevill: Electronic instruments

External Links:

Front Line Assembly Homepage
Front Line Assembly on Wikipedia
Echogenetic on Wikipedia

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New Model Army The Ghost of Cain Review

General Information:

Artist: New Model Army
Album: The Ghost of Cain
Genre(s): Rock, Folk Rock
Subgenres(s): Post-Punk
Released: 1986
Length: 35 minutes
Language(s): English
Label(s): EMI

Track List:

01. The Hunt
02. Lights Go Out
03. 51st State
04. All of This
05. Poison Street
06. Western Dream
07. Lovesong
08. Heroes
09. Ballad
10. Master Race

New Model Army The Ghost of Cain Cover

New Model Army The Ghost of Cain Cover

New Model Army The Ghost of Cain Review

The Ghost of Cain is the third studio album by British post-punk outfit New Model Army. Unlike a great number of other rock bands, New Model Army has a big emphasis on narrative-driven lyrics that touch on serious themes of justice, politics and social issues.

This is outlined right from the get-go with The Hunt, which deals with street justice in a town overrun by drug dealers and thugs that are untouchable due to corruption and fear. 51st State is an irony-soaked acoustic song about American exceptionalism while Master Race reflects on countries acting like the world police because of their arrogant sense of superiority.

Western Dream is perhaps the most serious in terms of lyrical content when Justin Sullivan pessimistically looks at “the bitterness of failure and the dirt of success” in the western world. He goes on to sing about how sometimes it looks like there are only two choices; know your place or “trample over everyone” to be successful while living with the dirt of doing so.

Every instrument has been mixed with a high degree of clarity so that they are all represented equally on The Ghost of Cain. This means that the bass can not only be heard clearly, which is a rarity in rock music, but it proves to be an integral part of the New Model Army sound. There is also a noticeable influence from folk music on 51st State, All of This and Lovesongs while Poison Street and the dusty sounding Ballad feature the harmonica courtesy of Mark Feltham.

All of these inclusions play perfectly into the post-punk ethos of expanding beyond punk rock’s simplistic 3 chords of fury to explore more artistic possibilities while maintaining the same energy and passion.

Performers:

Justin Sullivan: Vocals, Guitar
Robert Heaton: Drums
Jason “Moose” Harris: Bass
Mark Feltham: Harmonica (Poison Street and Ballad)

External Links:

New Model Army Homepage
New Model Army on Wikipedia
The Ghost of Cain on Wikipedia

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The Devin Townsend Project Ki Review

General Information:

Artist: The Devin Townsend Project
Album: Ki
Genre(s): Rock
Subgenres(s): Progressive Rock
Released: 2009
Length: 107 minutes
Language(s): English
Label(s): HevyDevy, Inside Out

Track List:

01. A Monday
02. Coast
03. Disruptr
04. Gato
05. Terminal
06. Heaven’s End
07. Ain’t Never Gonna Win
08. Winter
09. Trainfire
10. Lady Helen
11. Ki
12. Quiet Riot
13. Demon League

The Devin Townsend Project Ki Cover

The Devin Townsend Project Ki Cover

The Devin Townsend Project Ki Review

Ki (pronounced key) is the first of a planned 4 part series by Devin Townsend following a 2 year hiatus from recording music after he found himself uncomfortable with the fact that he had difficulty writing music without drugs. During the hiatus he wrote music that he found fitting into 4 different styles and wanted to create an album for each of them.

To help him realise this ambitious goal he enlisted a different group of musicians for each album. For Ki he chose long-time collaborator and multi-instrumentalist Dave Young, who provides much of the ambiance as well as drummer Duris Maxwell (Heart, Jefferson Airplane and Skylark) and bassist Jean Savoie who is a member of a Beatles tribute band called The Bobcats as he thought that they would bring a fresh perspective to Ki’s quieter aspects. Devin Townsend himself takes on lead vocal and guitar duties as well as some bass playing and ambiance.

There are 2 distinct sides to Ki. The first is the moody and introspective music that would be the perfect soundtrack to a quiet winters evening. This is introduced immediately with the minimalist A Monday, which focuses on simple and undistorted guitar playing with some keyboard work to fill in the spaces around it. Other songs like Terminal, Winter and Lady Helen are particularly close to this blueprint in terms of the mood and stripped back musicianship while Coast is slightly more up-tempo, especially towards the end when the music intensifies with layers of voices. Ain’t Never Gonna Win is a loose jam song that never loses the feeling of the other songs mentioned but sounds distinct from everything else in its own right.

Unfortunately there is also the other side to Ki which is made up of irate songs like Gato, Heaven Send, the title track and the aptly named Disruptr (yes that’s how it’s spelt). They all contain the softer side as well but Devin Townsend’s latent aggression starts to seep through in a controlled way. The loud chugging guitars come in, Devin Townsend shouts and snarls in his distinct way as the songs intensify like at the end of Coast before dissipating into soft ambience once again.

There are 2 problems with this. The first is that the anger seems to be allowed out in controlled bursts which prevent it from really taking hold of the music and going somewhere of significance. The second is that the different styles are divisive because the moods that they create rub shoulders in an awkward fashion instead of complementing each other. It would have been a much wiser idea to split Ki into 2 separate albums for the sake of consistency if nothing else.

There are other anomalies such as Quiet Riot, an optimistic sounding folk song that turned out to be a real highlight of the album and I can’t help but wish there was more of this on Ki. Then there’s Trainfire, a tongue-in-cheek rock and roll song with more of the wrath-filled heavy metal segues that eventually gives way to the introverted night time music. This is one of those songs that you’ll either accept as a particularly odd progressive rock song that blends 3 styles of music together or you’ll sit back and think that it’s a train wreck of conflicting ideas. Demon League is another low key song that closes the album while bringing Ki around full circle by revisiting the themes found at the start of the album on A Monday.

Ki gives the impression that Devin Townsend was fighting with himself over what kind of music he wanted to create and ends up with an odd combination of styles that would have been better suited to 2 separate albums. It’s a bumpy ride because of this but if you are either a fan of Devin Townsend or want to hear something different without having to jump into the deep end it would be an ideal place to start.

Performers:

Devin Townsend: Vocals, Guitars, Fretless Bass Guitar, Ambience
Duris Maxwell: Drums
Jean Savoie: Bass guitar
Dave Young: Keyboard, Piano, Ambience

Additional Musicians:

Ché Aimee Dorval: – additional vocals
Ryan Dahle: – additional vocals on Gato
Bjorn Strid, Peter, Christopher, Grant, Corey, Jeremy, Ryan: additional vocals

External Links:

Devin Townsend Homepage
Devin Townsend on Wikipedia | Ki on Wikipedia

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Disturbed The Sickness 10th Anniversary Edition Review

General Information:

Artist: Disturbed
Album: The Sickness (10th Anniversary Edition)
Genre(s): Rock
Subgenres(s): Nu Metal
Released: 2000
Length: 54 minutes
Language(s): English
Label(s): Giant Records, Reprise Records

Track List:

01. Voices
02. The Game
03. Stupify
04. Down with the Sickness
05. Violence Fetish
06. Fear
07. Numb
08. Want
09. Conflict
10. Shout 2000 (Tears for Fears Cover)
11. Droppin’ Plates
12. Meaning of Life
13. God of the Mind (Bonus Track)
14. A Welcome Burden (Bonus Track)

Disturbed The Sickness Cover

Disturbed The Sickness Cover

Disturbed The Sickness 10th Anniversary Edition Review

The Sickness is the debut studio album of American rock band Disturbed. Released at the height of the nu metal trend, it skyrocketed to success on the back of catchy yet simplistic guitar riffs that descended from the groove metal sound, which the band played under the name Brawl before singer David Draiman joined the band.

The lyrical themes of anger and violence as Brawl seeped over into the bands new incarnation as Disturbed and can clearly be seen just from the song titles. On the other hand, the musical abilities of each band member are played down severely when put next to the Brawl demos which had guitar solos, intense heavy metal drumming and much more audible bass.

So what did Disturbed gain from this seemingly one-sided trade off? The most obvious answer is David Draiman, a skilful singer with a knack for writing melodies that will always catch your ear whereas original singer Erich Awalt had a gruff voice that is reminiscent of Pantera’s Phil Anselmo. Other than that, guitarist Dan Donegan and drummer Mike Wengren also contributed different programmed sound effects to many songs, most notably on Voices, The Game, Fear and Meaning of Life.

David Draiman goes on to provide some unorthodox vocal performances that range from barking noises on Voices, Violence Fetish and Conflict to a Hebrew chant on Stupify and a questionable depiction of domestic abuse that takes the form of a shouted monologue in which he portrays himself being beaten by his mother before taking his revenge on her in the bridge of Down with the Sickness (“why did you have to hit me like that, mommy/don’t do it, you’re hurting me/…/you stupid, sadistic, abusive fucking whore/how would you like to see how it feels mommy/here it comes, get ready to die”).

There are 2 minor differences between the original release and the 10th anniversary edition. The first is the inclusion of the bonus tracks (although God of the Mind was included on the 2002 international reissue) and the second is that a few of the sound effects on selected songs have been altered. The significant difference is that the volume of the recording has been increased massively and it might result in ear fatigue because of this.

As Disturbed, the band forged their own sound within the popular nu metal scene which would deflect any comparisons to Pantera. The success that they capitalised on from their transformation led to them selling over 4 million copies of The Sickness which is probably due to the albums highly accessible sound while ignoring the tendency for nu metal bands to incorporate rapping and turntable scratches.

Performers:

David Draiman: Vocals
Dan Donegan: Guitars, electronics, programming
Steve Kmak: Bass guitar
Mike Wengren: Drums, percussion, programming

External Links:

Disturbed Homepage
Disturbed on Wikipedia | The Sickness on Wikipedia