CSS

Showing posts with label Instrumental Interpretations. Show all posts
Showing posts with label Instrumental Interpretations. Show all posts

Sunday, 12 February 2017

INSTRUMENTAL INTERPRETATIONS PART VIII: Vipassi – “Śūnyatā”

By: Phil Weller


Album Type: Full Length
Date Released: 20/01/2017
Label: Season of Mist




A less conservative approach to progressive tinted death metal, they pepper their songs with plenty of other musical flavourings. From the avant garde shredding on ‘Jove’, to the turbo charged, time signature metamorphosis assault of ‘Sum’, each track flaunts its own distinctive character. So if the likes of Animals As Leaders, Death, Obscura and Cynic appeal to you, then prepare for your taste buds to be tantalised.

“Śūnyatā” CD//DD//LP track listing:

1). Gaia
2). Benzaiten
3). Jove
4). Sum
5). Elpis
6). Paradise
7). Samsara

The Review:


“Instrumental music,”this record’s accompanying press release concludes, “traditionally has a harder time in metal as in other genres. All too often, virtuoso musicians have used their talent mainly to stroke already massive egos. Yet bands like Animals As Leaders have demonstrated that ambitious skills and passionate song-writing can be fused into something greater, which appeals far beyond the grudging respect of colleagues.”

Indeed, while Vipassi drag their instrumental music down more deathly, but ultimately bewildering complex hallows reminiscent of Animals As Leaders – who have also featured in this column – that band has been helping people consider the genre of late. The band’s surging popularity is contradictory to what makes the charts, of both mainstream and metallic varieties, and as a result is opening the door of opportunity to bands like Vipassi.  

The band was born from jam sessions in 2009 between guitarist Ben Boyle and members of Australia’sNe Obliviscaris – drummer Dan Presland, bassist Brendan Brown and guitarist Benjamin Baret. Soon, as the press release goes on to say, they “settled on an instrumental style that captured the openness aimed for to allow any listener to interpret and connect with the material subjectively. Their project represents a desire to explore beauty and darkness in all its shades, through melodic and complex compositions”.

Just like how the bass driven sounds of Obscuraare treading on the turf Death once carved out as their own, continuing their legacy in a heavy but imaginative manner, Vipassi too are carrying the torch. A less conservative approach to progressive tinted death metal – and Chuck Schuldiner was anything but conservative – they pepper their songs with plenty of other musical flavourings. From the avant garde shredding on ‘Jove’, to the turbo charged, time signature metamorphosis assault of ‘Sum’, each track flaunts its own distinctive character.

LikeObscura too, the bass is powerfully prevalent. Brendan Brown’s playing refuses to just steady the ship, it can fly off the handle at any conceivable moment, meandering like a lost child in a supermarket, but played with an impressive conviction, grace and musicality belying of its disregard of convention. He is there secret weapon. 

Where a singer may add interest and that all-important record selling earworm, here they don’t so much as compensate for their lack of vocals by shifting time signatures every which way as they do utilise the void therein. Their venomous songs have many twists in their tails; they can pirouette on a knife edge, flip upside or segue from primitive passages to ones of airy, chilling calm. The change comes as sudden, but never feels anything but smooth.

Listen with headphones and these compositions become wholly, terrifyingly immersive. ‘Elpis’is one such example. Above all an interloping song, something like this belongs more on a film score than it does a death metal album, but its skin crawling aesthetics stand strong; it gives the album a hellish death.

It leads you blindly into the closing track ‘Samsara’ which best merges their thundering metal, with guitars and bass tightly syncopated and resembling the sound of alien warfare, with hypnotic and creepy atmospherics. They weave in and out of the battle, sewing a vast and extravagant canvas.

Something about the music of Animals As Leaderspierces through the threshold from underground music to something more entertaining, rewarding and accessible – even if its complexity is anything but. Vipassi however, don’t come across as a band who can attain such contradictory achievements. But what they do is extremely appealing, so if the likes of Animals As Leaders, Death, Obscura and Cynicappeal to you, then prepare for your taste buds to be tantalised.

Śūnyatā is available here






Band info: bandcamp || facebook

Friday, 4 November 2016

INSTRUMENTAL INTERPRETATIONS Part VII: Animals As Leaders – “The Madness of Many”

By: Phil Weller

Album Type: Full Length
Date Released: 11/11/2016
Label: Sumerian Records


Tosin Abasi and company find expressionism through mathematic complexity.

“The Madness of Many” CD//DD//LP track listing:

01. Arithmophobia
02. Ectogenesis
03. Cognitive Contortions
04. Inner Assassins
05. Private Visions Of The World
06. Backpfeifengesicht
07. Transcentience
08. The Glass Bridge
09. The Brain Dance
10. Aepirophobia

The Review:

Every generation plays host to its innovators and Animals As Leaders’ Tosin Abasi, through the imitable tones that usher forth from his 8 string guitar, represents a very fresh and modern approach to guitar playing. Using the extended range to flirt with slap techniques otherwise left to bassists and detailing his sonic canvas with everything from the heavy grunt of djent and progressive metal to swinging gypsy jazz, electronica and more, here is a musician who laughs at the idea of boundaries and limitations.

In many respects ‘The Madness of Many’, the band’s fourth album and second truly collaborative effort, is Abasi’s most accomplished too thanks to the diverse palette which is laid out before us. From the siren-led mathematic chaos of ‘Arithmophobia’(meaning a fear of numbers) to the likes of ‘Inner Assassins’, which allows all his musical references and inspirations to tangle with one another inside one great big melting pot, it is a spectacularly engaging record.

The pinballing rhythms of ‘Private Visions of the World’ make way for some breath taking lead work before returning with a pinging vengeance. It sounds like a wondrous cross between John McLaughlin and Meshuggah. 

On the final two tracks, their diversity is further broadened when they drop the crunching steel electrics for nylon acoustics. ‘The Brain Dance’ and ‘Apeirophobia’(a fear of eternity) shift the mood dramatically, giving the record a serene yet oddly frantic conclusion as the luscious flamenco at play soon dips and dives into time signature contorting, spasmodic djent phrasing. The band’s mantra of hybrid stylistic thinking is here epitomised as they seamlessly combine a traditional, almost ancient style of music with one of the most modern without you ever raising an eyebrow in confusion. Such is the quality of this cross-breeding, you just accept it for what it is, close your eyes and sink deeper and deeper into its transcendental depths.    

While its complexity may at times be overwhelming, there is a gorgeousness which prevails through a blazing trail of algorithms and acrobatics. It may sound like rocket science, but it has personality too.

“The Madness of Many” is available everywhere from 11/11/2016
Band info: facebook || official

Tuesday, 18 October 2016

INSTRUMENTAL INTERPRETATIONS Part VI: Kylver - "The Island"

By: Phil Weller

Album Type: EP
Date Released: 06/10/2016
Label: Independent



An evil and hypnotic concept album that will have your imagination racing.  ‘The Island’ is an encapsulating and fascinating release which heeds new reward upon repeat listens. It is the closest any metal act has gotten to lucid dreaming.

“The Island” CD//DD track listing:

01). The Great Storm Of 1703
02). Hy-Brasil
03).  Monolith
04). The Abyss
05). The Great Race


The Review:

Battered and buffeted by a tempestuous storm, a privateer ship begins to sink beneath imposing clouds and ravenous waves. Hired in 1703 to scout out a mysterious island which is believed to host a portal to another world, Kylver’sepic new concept album ‘The Island’, follows the ship’s sole survivor as he explores the alien landscapes of The Island, having washed up on its ominous shores, with the unnerving feeling of being followed a constant prickling in his senses.   

A picture, they say, can speak a thousand words. But here, through the musical imagery conjured from this band’s unique sound – one characterised by gigantean, whirling Hammondorgan, droning bass and expressive, artisan guitar work – speaks far more than that. Though no words are spoken throughout, the cinematic experience which unfolds, as their progressively lavished doom metal twists and turns like a writhing beast, is powerfully moving.

‘The Great Storm of 1703’, at nearly fourteen minutes does more than just set the scene as it ducks and dives through dynamic peaks and troughs. From Opeth-meets-Mastodoninspired sections, to demented Deep Purple, surreal psychedelia and beyond, the canvases they create in your resolutely racing imagination are vast and vibrant. They work to create an incredibly immersive body of work that not only follows up their debut offering ‘The Mountain Ghost’, which helped secure the band a nomination at the Prog Magazine Awards earlier this year, it proves the band’s class and worth was not a one time only deal. And in such style too.  

‘Hy-Brasil’ is arguably the record’s most imposing and immediate song. It’s thick, gooey sludge tones are played out at a rapid tempo with mescaline tripping organ screams weaving in and out of guttural guitars. The drums carry the thunder of the opening act into a new setting to great effect, closer ‘The Great Race’ meanwhile an evil and hypnotic song, coming across like a perturbed Ghost (BC).

Beautiful and nuanced, their booming sound may replicate the footsteps of giants and ogres, but the intricacy of the guitar and keyboard playing helps make this an altogether more wholesome piece. This is heavy and threatening and elegant and intelligent. So much goes on across every song, with the band drawing graciously from such a feast of influences and techniques, it would take an age to work through this record’s aural treats and surprises in such a methodical way. Just be sure to know that ‘The Island’ is an encapsulating and fascinating release which heeds new reward upon repeat listens. It is the closest any metal act has gotten to lucid dreaming.

“The Island” is available here
Band info: bandcamp|| official

handapeunpost