Jonathan Hill

A Soapbox for Uninformed Opinions

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Disturbed Believe Review

General Information:

Artist: Disturbed
Album: Believe
Genre(s): Rock
Subgenres(s): Nu Metal
Released: 2002
Length: 47 minutes
Language(s): English
Label(s): Reprise

Track List:

01. Prayer
02. Liberate
03. Awaken
04. Believe
05. Remember
06. Intoxication
07. Rise
08. Mistress
09. Breathe
10. Bound
11. Devour
12. Darkness

Disturbed Believe Cover

Disturbed Believe Cover

Disturbed Believe Review

Believe is the second album by nu metallers Disturbed. Following the massively successful release of The Sickness, you could have easily expected Disturbed to follow up in a similar fashion but that isn’t the case because they have chosen to shed off many of their defining traits to start on a new path for Believe.

The confrontational singing style and angsty lyrics have been scrapped in favour of highlighting David Draiman’s highly melodic singing abilities with his lyrics now taking a closer look at religion and spirituality, which is also depicted on the albums cover as a mix of the Christian crucifix, Islamic crescent, Jewish star of David and a Wiccan pentacle. The only song on Believe to feature any of his distinguishing barking noises is Intoxication so for anyone that is put off by that on The Sickness will find Believe much more welcoming.

The electronic elements have disappeared almost entirely with the tiny exceptions being the glitchy vocals at the start of Liberate and then the keyboards at the start of Remember and on the bridge of Mistress. Another rare moment is the final song, Darkness, which is an artfully crafted piano ballad that will catch most listener’s off-guard. It also proves that the band is capable of expressing themselves in an entire different way when they want to. It also happens to be the only song to feature an acoustic guitar as well as cellist Alison Chesley.

Devour picks up a lot of momentum right at the end before coming to a sudden stop and it’s hard not to think that this could have easily transitioned into a new verse or even something slightly progressive but instead of tip-toing around something new Disturbed strictly adheres to their radio friendly format. That isn’t to say that there is anything inherently wrong with this, despite it almost feeling intentional at times, but it would have been interesting to hear the band tackle something more challenging.

Despite the sudden shift into a highly accessible and melodic style, Believe is still a nu metal album that focuses on straightforward guitar riffs and stays away from any form of flashy showmanship. In contrast to this, the rejection of angsty lyrics and aggression in general makes Believe one of nu metals most mature efforts by the simple virtue of escaping these common elements. Whether you consider Believe to be a streamlined or a stripped back effort will depend entirely on your perspective of the band and the subgenre.

Performers:

David Draiman: Vocals
Dan Donegan: Guitar, keyboards
Steve Kmak: Bass guitar
Mike Wengren: Drums, percussion
Alison Chesley: Cello

External Links:

Disturbed Homepage
Disturbed on Wikipedia
Believe on Wikipedia

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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