![]() Missing the tasteful slower paced songs that give RoC more emotional depth, the slew of hard hitting post-hardcore here can get a little tiring, though this is mitigated by the forty-minute runtime. Cedric’s trademark esoteric lyrics come back better than they’ve been since The Mars Volta, and forgoing some of his more Rage Against The Machine influenced deliveries that have detracted from my enjoyment of Relationship of Command Shades of emo, in my opinion, but even for me it’s a faint, albeit noteworthy, influence Great production here, not quite as groundbreaking as Relationship of Command, but it definitely takes the album up a notch The antithesis of a slow burn, track after track of impressive, blazing fast post-hardcore perfection Cedric is as electric as he has ever been, selling even the weakest parts of their new material with ease, bringing technicality to his singing than was present in their previous albums, along with a distinct change in timbre since he had surgery on his vocal cords, which I find refreshing Sound: Post-hardcore pioneers return with one of their best efforts yet, Relationship of Command pt.2 Uploaded in its entirety on the band’s own youtube along with visual accompaniment for the duration, (linked below) and that’s just super rad of them Unexpected sampling styles brings out unexpected rhythms from conventional instrumentation, feedback heavy electronics, field recorded vocals, bass heavy tumbles, and many more This is feel good music for people who appreciate texture and true artistic visions ![]() lo-fi ambience peeks around every corner Seems wistfully lost sometimes, while I think that aids in the carefree atmosphere and makes the dizzying production choices more effective, I think it holds back the overall quality of the record from surpassing Manual, hopefully they can fuse these two worlds into something downright transcendental next time around Their dreamy charisma carry overs from Manual, but with an entirely different approach to percussion and end goal for shoegazing A surprisingly experimental effort from what I thought was a single-serving (albeit very good, check their 2015 album) psychedelic band Sound: Very well produced, Brazilian neo-psych with a bit of hip-hop technique The Finnish shoegaze and noise rock outfit Kairon IRSE gained significant notoriety in 2014 following the release of their breakthrough album Ujubasajuba, amassing fans from around the globe after spending years in the obscurity of the Baltic experimental rock scene. The further development of their blend of noisy pop, shoegaze and psych rock brought them critical acclaim and the. Best Tera Melos album since their debut, and it’s refreshing to see a progressive group like them continue to evolve their sound rather than stay in their comfort zone The follow-up Ruination was released in 2017. Sax (at least it seems to be) out of nowhere on A Universal Gonk was a very pleasant surprise Nick Reinhart continues to be a hero of mine on the guitar Catchiest math rock album I’ve heard in a while, does so in it’s own unique way Lyrics seem pretty Get To Heaven, but the same dry delivery on every track doesn’t impress me, and a lot of the best moments here come in the instrumental breakdowns HELLOWEEN - THE DARK RIDE - New Vinyl Record DLP - K600A - 52.53. Technical drumming doesn’t do a lot for me here, a little too conservative for my taste Cutting Class in a Record Store (the Heavy Truancy Experience filling in for Dr. Title track is banger of the year, though there are a few other standouts that show what can be done with the pop formula Word spread fast, leading to a slew of festival appearances.Sound: Poised math rock for mad men complex indie rock The initial fruits of their labour were collected on 2011’s mini-LP The Defect In That One Is Bleach/ We’re Hunting Wolverines, before the bandcamp-only Ujubasajuba became something of an online phenomenon in 2014. Luckily though, we had our producer, Juho Vanhanen, to guide us.”įormed in Seinäjoki, Kairon IRSE! have been playing together for just over seven years. When you play the same songs over and over for that amount of time, you get blind to them. We weren’t doing gigs at all, we were just composing and working on the whole album. “The ideas came from improvisation, but then it was really carefully planned. “We spent something like two and a half years arranging and creating the songs,” says Lehdontie. It’s also the product of meticulous preparation. A skronky fusionist’s dream, it packs in more thrills per inch than it has any right to do. The band’s second album is a dense, fiendishly involved work that navigates a course through rampaging prog, heavy psychedelia, the wilder edges of jazz and strange avant-folk. Ruination is indeed a mighty brute that does its damnedest to defy classification.
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