Autechre – Anti

It’s an interesting and important record, but that’s where the fun stuff ends. Autechre already got a massive discography, too. So if you’re just here exploring Electronic Music and What It Means, read about the Criminal Justice Bill and maybe listen to “Flutter”. The Prodigy and Orbital also addressed this topic, and the worst thing about it was that the Prodigy’s song somehow didn’t launch Pop Will Eat Itself to national recognition.

Then again, many people describe Autechre’s later works as inaccessible and their early work as sublime. To me, the less traditional Autechre are, the more interesting and listenable they are. Their music contains no recognizable human emotions. I remember “Clipper” working especially well because I was tired of feeling like a human. I wanted something that sounded born of machinery, but not the machinery representing human flaws, like Front Line Assembly does. Autechre’s music, at their best, paint a world of only abstract shapes and no humans.

Of course they have no business doing Dance music. I have no idea what people are talking about when they mention that the first two tracks are club-friendly. “Lost” has echoing drums that sound more full of distress than fun. Dance music can be aggressive or anxious or angry, but it’s about release and immediacy. Autechre never actually create a groove. Their music is too detached and scared of human emotions for this. “Lost” doesn’t actually sound like a club track to me, but like the repetitive thoughts of a wallflower with a bad case of social anxiety. It acknowledges people dance, but if it’ll try it will just kill the fun.

The other two are glorified demo tracks of Confield. It sounds lazy now, but this was released around the worst era of Autechre, before they got weird. These beats are more dynamic and right when you think repetitions sets in, it changes. It’s a clever trick that may be able to fool the cops, but what else is there? The sounds themselves – what Autechre does best – aren’t interesting. “Flutter”‘s beat is more skitterish and complex, but in IDM tracks need a wider difference than this. You got a gigantic sound palette and can do anything, especially when you eschew repetition. Instead, it sounds like one gigantic track that occasionally changes the rhythm.

As a political statement, perhaps it works. Perhaps a musicologist was present when “Flutter” played at a party when the cops came and explained everything. Although if anyone actually plays Autechre at a party, what you need to send is an anthropologist. He’d probably be bored though, since the music on Anti is stereotypical IDM. It’s not danceable, it has some kind of creepy, detached atmosphere and it goes on for way long because it has a lot of ‘tiny details’. Normally, I love this stuff but why would I choose any of these tracks over “Pen Expers”? That one both sounds weird, has no consistent rhythm and is actually quite a banger.

Maybe the whole Criminal Justice Bill protest thing was just an excuse to release a bunch of demos.

1.5 illegal raves out of 5


Excision – Virus


Before we talk about the album, let’s talk about the Brostep. We all know what happened. Along came a loud genre that was popular, so people decided it was stupid. Once everyone stopped with those crappy YouTube remixes of memes, the scene flourished. Excision was integral for the scene. His Shambala mixes were highly anticipated and were a document of where it was at. His two best mixes – of the years 2013 & 2014, showed Brostep turning into something different. It was no longer about plain heaviness, but switching BPM’s and experimenting with odd sounds. When Skrillex collaborated with Justin Bieber, it was expected. That’s how wide-eyed the scene was.

Then something happened to the water all the DJ’s were drinking. Everyone took a step back to a time where it was all about cold heaviness. Never Say Die’s Black Label imprint was a leader in it, and although it had some good releases its influence was incredibly negative. The new producers forgot what made Brostep so appealing in the first place. It’s a Dance genre relying on ridiculousness. The more ridiculous your sounds are, the better it is. The new movement only emphasized some form of darkness. In some ways, it set out to be deliberately anti-Skrillex.

So the result was a lot of dull, heavy and no-fun bangers. The scene stagnated and it’s still in a problem. What should’ve happened a year after Skrillex blew up happened now. Finally, heaviness overpowered it and it’s embarrassing to hear MUST DIE!’s new song with Habstrakt. One of the most inventive producers is now doing nothing but white noise. Sure, there have been highlights. The recent experimentation with Deep House were a success, but overall the scene became monochromatic.

Virus sure feels like it should be the scene’s savior, but keep in mind Excision’s music was rarely as diverse as his mixes. In fact, he was never that diverse, not when compared to Skrillex or Knife Party or these new dudes, Barely Alive. In the current climate, there’s room to worry that Virus would be the finally nail in the coffin – showing Excision completely running out of ideas, missing the entire point and just making a lot of noise.

Thankfully, Virus is closer to getting everything right about a dance album.

In terms of sound, this is still all about brutality and noise. In fact, it’s less experimental than previous albums with no forays into new genres. Drum and Bass is barely here (Only the drumstep thing in “Rave Thing”). House is represented by “Mirror” and other than that, Excision powers through like 2013 never happened. It actually makes him sound of touch. After LAXX and Barely Alive, surely he can come up with some new sounds?

What didn’t change is Excision’s perfect understanding of the genre. Where he differs from the new boys is that there’s no posturing here, no attempt to sound cool by turning the sounds down low. In fact, Excision plays this record like 2015 never happened, either. It’s soaked in the mid-range madness of 2011, when it was all about roaring and being ridiculous. How else can you explain “Rave Thing”? It was out of place back in the 2015 mixes, where it roared and wobbled while everyone just growled. It’s a track that constantly ups the ante, that takes the most parody-esque elements and exaggerates them. As an attempt to out-Skrillex Skrillex, it’s quite brilliant.

Virus reminds me of why I love the genre it’s the first place. It’s so ridiculous, so oblivious to classy dance music. “Neck Brace” has Messinian, and he roars more than he raps. The drop imitates machine guns, but the sounds is right between midrange and low-range. “Harambe” literally stomps like a gorilla while alternating between the sounds of its 3 producers. “Throwin’ Elbows” shows Excision can still mine this style for new sounds. At this point, he doesn’t pretend to be concerned about rhythm. The drop consists of what sounds like laser beams shooting and the sound of reloading. As for “The Paradox”, it’s a brave attempt to make a defining song. Something is missing – it doesn’t as ridiculous as it should – but it would be an attention-grabber in any mix and would require an immediate change of BPM.

A dance album can’t rely on a single idea though. Even Dance artists whose genres are defined by heaviness switch it up. What’s odd is how Excision does these switches. There’s a foray to House in “Mirror” which borrows from the whole ‘bass house’ thing, but it’s not too alien. Excision is finally comfortable with guitars. They’re not sampled any more. “Throwin’ Elbows” is loud as hell, and can “Death Wish” be classified as an EDM song at all? It’s a Rap song with guitars for a chorus. Sure, there are Trap drums but the guitars play riffs.

The oddest excursions are to the sort of melodic Brostep most producers stick for tokenism. Excision now throws himself fully at them. There are 3 such tracks, and for once they have a purpose other than offering a break. “Drowning” has a glacial, sad quality to it. Compare it to “With You” which appears near the end. The former song doesn’t actually have a melody, but sound design meant to create atmosphere. “Her” has Dion Timmer’s chimpmunk vocals singing about a heartbreak over a weird drop. It’s somewhere between melodic and wobbling, creating this odd feeling of heartbreak and acceptance. It’s an odd moment of beauty that’s rare in the genre.

If you look at the tracklist you probably wonder how can you sit through 16 minutes of Brostep. It’s quite easy, actually. Making a dance album isn’t too hard. All you need to do is make sure everything bangs and there’s enough variety. All the brutal tracks bang, and there’s enough offer a break while keeping the rhythm going – “Are You Ready?” is the only attempt towards contemporary Brostep and it’s a nice stepdown, and while “Mirror” isn’t as good as his other House tracks it’s a welcome break. The only problem is putting “Harambe” as a closer, especially when “The Paradox” is right before it. The latter is epic, huge and roaring. It’s a climax. “Harambe” stomps like a mid-mix banger, a track that comes with no build-up and immediately locks you in its groove. As a closer, it’s perhaps the worst song.

Virus isn’t exactly what I want from Excision right now. I want to see the genre expanding, mixing with others and creating one of the most vibrant musical movements. Excision is still content in the midrange, but at least he backs up his obsession. When it comes to loud, midrange Brostep then all I want are tracks like “Neck Brace”, “Harambe”, “The Paradox” and “G Shit”. Hopefully, this will spread and the new riddim movement will die.

3.5 dead gorillas out of 5

Massive Attack – Blue Lines

Blue Lines is unlucky. It couldn’t rely on the huge influence it had for lasting critical acclaim. Everyone talks about how outdated this is and they’re right. Pretty much any work of Trip-Hop that came after this pushes the genre way more forward. You don’t have to look too far. Just listen to some Tricky, Portishead and UNKLE and you’ll find artists with a wider vision, a more diverse palette of influence and more conceptual depth. Their concepts are also so different that they hold Blue Lines back from being outdated.

Trip-Hop has a lot in common with other 90’s genres such as Gangsta Rap, Nu-Metal and Industrial Rock. It’s full of darkness, sexuality and general pessimism. The approach may be more artistic, but the negative moods remain the same. Blue Lines is the opposite. Instead of drawing abandoned and heartless landscapes, it’s enjoying life.

In truth, you shouldn’t compare it to other works in the genre. Even the influence have different filters. Massive draw from the smoother side of Hip-Hop and from the pleasant, easy side of Soul. ‘Easy Listening’ describes best the album. The breaks are slow, but funky and still hard. The rapping is so laid-back there are no rhymes to follow. Barring the oddly aggressive “Safe From Harm”, the singers sing about the virtues of love and being thankful.

Many artists have tried to make an album like Blue Lines. A lot of rappers made this type of ‘smooth rap’, but no one does it like Massive Attack. Unlike rappers who focus primarily on impressing you with rhymes (that are boring anyway), Massive Attack put more emphasis on mood. “Blue Lines” is better than anything by A Tribe Called Quest because of how precise it is in getting the atmosphere right. The break is rolling with a perfect balance between banging and not being too loud. The hushed rapping fits with the vibes. They’re not out to impress you. They’re chilling with you to the beat.

Maybe what people mean when they say the album is ‘outdated’ is because of how unambitious it is. The unassuming title-track makes it obvious. Unlike later producers who made huge statements with their albums, Massive Attack are trying to create good vibes here. Nothing here sounds revolutionary, like a new sound that inspired a lot of people. “One Love” is just a reggea song with more a Hip-Hop beat. “Unfinished Sympathy” is what happens when a Soul singer meets some Hip-Hop producer.

Yet this unassuming, unambitious nature doesn’t ruin the album’s quality. It’s only unambitious because its aim is to create nothing good vibes. The album is perfect when you hang out with a few friends not doing anything big, or when the party is at its end and most people have gone home. The atmosphere is still social and danceable, but slower and content rather than happy. It’s shocking to think this was released so early. This album was available for everyone, and smooth rappers couldn’t imitate it?

Blue Lines is an oddity in the Trip-Hop genre. It’s out of place in the canon because of how different then approach is. It may not be as deep as Mezzanine or far-reaching as Psyence Fiction, but there are few albums like it. Sure, there’s a lot of smooth Jazz and smooth Soul and smooth Rap. Massive Attack combines all these for an album that perfects the calm and social atmosphere. Forget about genres. It’s such a pleasant album that I can’t imagine anyone not finding something to like here.

3.5 blue lines out of 5

Parasyte: The Maxim (Kiseiju: Sei no Kakuritsu)

Humans are bad. They ruin the beautiful planet earth. No, wait, humans are actually good and all bad people aren’t humans. Eating meat is evil, or it’s a part of nature. Killers kill because they’re unrestrained and society is the only thing that keeps us from killing all that surrounds us. Planet earth is beautiful, and the fate of the world is in the hands of a teenage sex bomb and his, well, talking hand. Also, bass occasionally drops.

The concept isn’t bad. A talking hand gains automatic Cool Points and it doesn’t prevent the story from exploring deeper things. Having a sex bomb for a main character isn’t a death sentence. It’s when the anime juggles 90’s Sci-Fi weirdness with no insight or boldness. The parasites are cool at first, but not for 24 episodes. Shinichi is a good-natured sex bomb and people are evil because they’re evil, so where’s the shock value?

The problem with Parasyte isn’t that it’s stupid. The problem is that it wants to be smart. Too many times it points to a bigger idea, something about human nature and eating meat. Then it undoes every insight it has by having sex bomb characters, pornographic violence and cheap emotional manipulation. The techniques don’t match the aim of the anime.


Parasyte ends up joining the ranks of pretentious grimdark anime who think violence equals depth. The violence is fun for a while. Limbs are torn off without a second thought. The Parasytes distort the human body in Cronenberg’s favorite ways. You can’t carry an entire show based on that though. The creators quickly run out of visual ideas. Besides the blades, muscle tissue and eyeballs everywhere the Parasytes don’t have much to offer. Blood stops being shocking after a few gallons. The action scenes are hardly action scenes. A lot of fighting is simply blades clanging in the speed of light.

Clearly, the series wants to be more than a silly Sci-Fi story about bodysnatchers. It’s hard to take it seriously when the lead character is a sex bomb and nobody points out how weird it is. Every female character with a speaking role expresses interest in him. The teenage ones’ affection are clearly towards romantic. Does that sound like a harem premise to you?


The difference between this anime and other harems is that it’s serious. It never addresses the fact all the females somehow love Shinichi. Yes, it should considering it happens so much. There’s even beating up of another girl’s asshole boyfriend. From a distance, the abundance of female characters is nice since stories like these are often criticized for the lack of female presence. Then again, if the main thing they do is to stroke the main character’s ego what’s the point?

Having sex bombs for characters in such serious shows is always funny. While the anime preaches to us about how horrible the world is, how horrible humans are and how dare we eat meat it forgets losers and winners are everywhere. Sexuality isn’t some antidote to our violent nature. Sexuality and violence go hand-in-hand. Both have winners and losers, defeaters and defeated. The difference is, violence is more fair. Unless you disabled, you can use your fist. I guess the creators are all sex bombs too.

Is calling Shinichi ‘privileged’ making me look insensitive? He loses people left and right, and yet he still comes off as a boring, privileged dude. External and internal troubles are not the same thing. Although a lot of terrible things happen to Shinichi, he has no internal struggle. He has no lens through which to view the horror.


Attack on Titan is an obvious comparison. Both deal with an epic battle of humanity against another being, and in the center is a teenage superhero. Eren also loses loved ones and is knee deep in the abyss. Unlike Shinichi, he has a clear personality through which the suffering is filtered. Eren doesn’t just feel bad over his troubles. He views them in his idealistic, hero-delusional lens. In contrast, Yukki (Future Diary) and Shinji (Neon Genesis Evangelion) react to the danger with fear and avoidance. Shinichi has no such lens. He gets sad and screams in sorrow for a while.

Nothing actually drives him. Survival doesn’t count, since all organism are driven by survival (or well-being). He’s barely active in the story. Things happen to him and that’s it. The only decision he makes are whether to fight or flee. It almost sounds clever, since the anime wants to say something about how humans are still animals. Only it’s not true, of course. Humans are the only organism who are aware of their own death, of their consciousness. You need such cognitive abilities to start thinking about existence. The Parasytes start going existential, too.

Characters die all the time. The light/dark contrast is clever and will never lose its shine. Here it ends up being a cheap trick. Nearly every character that’s introduced will die. Some die in the same episode they’re introduced. Others are lucky to survive a few more episodes. The game of ‘who will die next?’ may entertain some, but that’s just gruesome RealiTV. It’s easy to recognize who will die and how. Many characters die so Shinichi can grieve over them, feel bad and then not change. He doesn’t have a personality that can change. The result is cheap manipulation of the viewer. Introduce a character, makes us relate to them and then rip their heads off.


There is a little spark, a little energy here. The anime is based on an old manga, and you can see it. The tropes and storytelling style all belongs in an older time, of moral heroes and sci-fi paranoia. It’s another thing that’s almost clever. They could’ve mixed the moral heroism/optimism of Shinichi with the 90’s techno-paranoia that gave us “Spaceman”. There’s no attempt to bridge these two, though. Shinichi is moral for convenience and the darkness is here to shock. He would’ve probably been one of Reznor’s ‘pigs’ with how bland he is, or one of Manson’s Beautiful People.

It’s nice the soundtrack keeps up with the times and gives us Bass Music of all kinds. I love Skrillex and Zomboy and Knife Party and all these. The soundtrack is so good, in fact, that I hope it will make its way to Excision’s Shambhala mixes. Sadly, the few bass drops don’t make up for a shitty story. They make it slightly more bearable.

Parasyte is crap. There’s no way around it. What starts off as fairly bizarre loses its shine quickly. It’s another grimdark anime where people die violently and this is somehow reflective of how terrible life is. Parasyte plays a little more with light and dark, but in the end it all leads back to the abyss. Don’t expect the depths you can get by going to suicide communities though. It’s so much of an abyss as it is a black wall.

1.5 bad Cronenberg movies out of 5

Knife Party: An Overview

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Knife Party are a weird story. It seems whenever Rob Swire tries something, he immidiately moves to something else. This technique can lead to a very diverse catalogue, but that’s not really what happens in this case. It seems Swire is more afraid of repeating himself than wanting to explore new ground, He shouldn’t be. Both Pendulum and Knife Party mastered their genres. While he abandoned Pendulum soon enough before they will lose their personality, Knife Party was different.

It started well enough. Their first two EP’s were released in the span of 2011-12. This was the beginning of Brostep’s traditional sound, a little before wild experimentation became common. The dominating sounds were mid-range bass wobbles and laser-like blips. Adding a little melody was common, but they always used abrasive sounds for that.


The first EP mastered that style. The scene had a lot of talented producers but no one matched Skrillex. No one could make their Brostep as ridiculous as his. His music was almost a self-parody. Knife Party sounded exactly like Skrillex but got it right. “Fire Hive” either screams in your ear or bass-talks. “Destroy Them With Lazers” has bass roars and lazer sounds.

It was almost a classic. It could have been, actually. Knife Party also released a DJ mix with some unreleased tracks which were just as good. There’s no reason not to release “The Box” or “Suffer”. The dumbest decision was to scrap “Zoology” which featured Skrillex. There’s a full-length version which is possible the original and not just a fanmade remake. Anyway, that song epitomizes what was so good about the scene. It had the funky rhythm of Moombahton but with the Heavy Metal aggression of Brostep.

Rage Valley was even better. Every song tackled a different genre and made everything around it feel a little pointless. “Centipede” is ridiculously heavy and it’s not actually loud. It’s just the BOOM at the beginning of the drop that makes it so intense. “Bonfire” was a hit that deserved all the hype. It switches constantly from roars, mid-range and melodic synths. Every little part is catchy on its own, and the alternating between them gives it a hyperactive energy. The sound of the drums is also perfect. Although “Sleaze” isn’t as good as “Zoology”, it first showed that Knife Party could make bangers without being loud.

Things started go downhill with Haunted House. It’s a great EP, but this is where Rob Swire focused on Not Being Brostep rather than making good music. The result is trend-hopping. It’s not so bad here because “LRAD” destroys almost every other Big Room track. It’s hard to think of a Big Room track that matches it and isn’t made by a Brostep artist. There’s “Wizard” and “Epic”, but that’s it. The VIP mix of “Internet Friends” also destroys the original. It adds more to the first drop and adds a Brostep one at the end. If you don’t count “Zoology” because it’s unreleased, then that’s their masterpiece.

Abandon Ship was where Rob Swire got completely lost. There were some traditional tracks there. There was some experimental tracks that kept the aggression. “404”, for example, is a weirder version of Big Room that’s pure genius. A lot of the tracks see Knife Party hopping on trends that aren’t very good, or they don’t give them a new spin.

“EDM Trend Machine” bangs, but there’s nothing unique or charming about it. It’s a very straightforward Deep House track. “Begin Again” and “Red Dawn” tackle worse trends. The former is an Avicii rip-off that’s saved only because of SWire’s vocals and the structure. The second is an attempt to stick a few samples from ethnic music to make us think it’s original. It sounds like a David Guetta B-Side (only with better production).

All of it bangs (except “DIMH” which has no point), but it saw Knife Party shedding their ‘seizure music’ and replacing it with, what exactly? Inoffensive dance music? I know that loudness isn’t actually praised in EDM. The best-selling tracks in Beatport are rarely weird or inventive or ridiculous. It’s mostly a typical House track with those annoying Melbourne Bounce sounds. It’s something that’s kind of rhythmic, kind of melodic but never anything that will distract you from staring at bouncing tits.


Why did Knife Party try to appeal to him, making dance music that’s suited to fade to the background? Their latest EP is the worst offender. For some moronic reason they decided their collaboration with Tom Morello will be on his album (We already heard that promise) and replaced it with a JAUZ remix. They should’ve kept the remix and get rid of “Kraken” or “PLUR Police”. If Abandon Ship had some quirky or odd moments,this has none. The drops here are exactly the same, only using slightly different notes. The wobbles and bass plucks of “Parliament Funk” are great, but that’s one song out of 3. They couldn’t even make a different second drop.

I don’t get it. I understand getting disillusioned with a scene. Many artists moved away from these sounds, but they expanded their horizons. Skrillex, Kill the Noise, Dillon Francis and even Barely Alive aren’t just about 140 BPM drops with bass growls. Dillon and KTN actually released average LP’s, but they pushed themselves and tried new ideas. KTN mixed his bass growls with Deep House or did a weird Disco track. Dillon tried his hand at producing Pop music and it worked.

Knife Party have very high levels of production. As generic as “PLUR Police” is, it still sounds better than anything like it. I hope the new EP was just a transition record, something they had to get out of their system. Their previous material is some of the best Bass Music has to offer. For all of Rob’s cynicism, that’s his scene. There’s no reason to move away from it. Aggression may dominate, but experimentation is encouraged. The top labels have plenty of weird artists in them. Never Say Die did sign LAXX after all. Hopefully, Knife Party will come back to themselves. If not, we still got 3 classic EP’s and a decent LP.

Next up: Top 10 Knife Party songs.

Knife Party – Trigger Warning

Famous artists disappear up their own ass, but Rob Swire’s disappearance is unique. When artists’ ambitions get to their heads, we get things that are plain weird. Maybe it’s the whole Advanced Genius Theory. Whatever they do, though, they never sound like they’re trying to avoid being something.

These are artists who were ‘underground’ not because they wanted to avoid the mainstream, but they don’t care about appealing to their core fanbase. That’s why Skrillex has no problem producing a song for Justin Bieber. He also a little later drops a loud, wobble-heavy banger with JAUZ. He cares for neither fan base.

If Skrillex always looked for new things and tried to make the best of them, Rob Swire is the opposite. He’s been moving away from the loud Bass Music for some time, but he used to have things to replace it with. It’s not the lack of wobbles or even heaviness that’s the problem. “Begin Again” was actually good. Their experiment with Disco was great. The problem is that they sound like they care more about sounding the opposite of their past, rather than making good music.

It wasn’t like this on their LP. It had the old heaviness with “404” and “Give It Up”. It found new way to sound like a siezure with “Micropenis” and that deep house track had a sick bassline. Knife Party were always derivative, but they knew how to take every style they jacked and make it work. This time, they’re not jumping into any particular. It’s your typical, faceless Electro House that has some Big Room and some Melbourne Bounce, but is generally afraid of being fun.

I know that most parties are filled with people who hate music. They came to hear the drums banging, take drugs and hopefully fuck someone. I don’t see how catering to these people leads to good music. I’m not even sure it’s a good startergy to get people to come in your shows. No one is going to spread these faceless tracks. Nothing here is as catchy as “Internet Friends” or sounds like the perfection of its style like “LRAD”.

For two tracks, Knife Party just give us the ordinary horn stabs for the drops. I’m serious. “PLUR Police” and “Kraken” have a very similar sound and don’t do anything with it. These horn stabs always sounded bad. They’re a less rhythmic version of the typical Big Room popcorn. They create a half-assed melody that can also pass for rhythm if you’re high on drugs at a rave.

There’s no rhythm to them, any inventiveness, anything catchy. Even when wobbles had no direction they at least constantly changed to catch your attention. It’s astounding that it took Knife Party around a year to produce these tracks. Get a random compilation from Spinnin’ Records, and you’ll fine at least 5 tracks that sound like “PLUR Police”.

It’s sad to see how far down they went. Inventive moments are still here. “Kraken” has some cool sounds that would’ve been easier to hear if Tom Staar didn’t shit on it. “PLUR Police” has good build-ups, both of them. As for the other track, it’s fantastic. “Parliament Funk” is everything you’d want in a Knife Party song. It has the same aggression, it’s focused more on aggression and the guitars in the build up give it some structure. For a change, it sounds like Knife Party borrowed ideas from all kinds of genres to create a catchy banger.

The JAUZ remix is fantastic. This guy has been making waves and hopefully he’ll re-ignite the scene. He doesn’t add anything but it’s been a while since I heard wobbles these powerful. The wobbles sound unhinged and organic. It’s like they happen on their own. Why is it here, though? I thought Knife Party weren’t into this style anymore. Maybe JAUZ will wake them up.

I love this band and I don’t want to see them jump the shark this way. I didn’t mind the lack of Brostep in their LP because they had enough to make up for it. They could still experiment and they still knew how to distort every style to make it their own. Here, they jump on a tired bandwagon and don’t sound so ethusiastic themselves. If Rob Swire isn’t into EDM anymore it’s best to call it quits now. Let them be remembered for their classic EP’s. If only the Tom Morello collaboration was released here.

Also, I can’t believe these guys didn’t release Zoology. It’s their best track and one of Skrillex’s bests, too.

2.5 dubstep remixes out of 5

Bring Me the Horizon – That’s the Spirit


Bring Me the Horizon are, what, the 3rd Metalcore act to abandon the genre for Nu Metal? It used to be the opposite.

The change Bring Me made is amazing. Linkin Park will be name-dropped in almost every review of this album and they should be. There is a similarity in sound, but what they both have in common is the desire to re-invent themselves. When this guy blasted songs from Sempiternal I was shocked at how different it was. When I blasted “Happy Song” a different guy was shocked it was the same band.

What is it in fame that causes some artists to fall apart, and others to aim high? It seems that with every new album, Bring Me are trying to justify their existence and popularity. They don’t try to justify it to people who dislike them because they’re not Iron Maiden. They know “Pray for Plagues” is barely worth being a demo. I still think the only reason it got popular is because of that porn sample in the end.

So That’s the Spirit is another reinvention, but it sounds necessary. It doesn’t sound like an exercise to impress anymore. Sykes talked about this being a concept album about depression. Now, whenever artist talk about their albums having a concept they tend to bullshit (even if the concept exists). Sykes’ statement isn’t complete bullshit, though. The album sounds way more sincere than anything like it.


Speaking of depression…

The orignal Nu Metallers didn’t understood their emotions. They just vented them. That makes for great music to work out to, but there aren’t many songs to point to and say ‘this is sums up the feeling’. The revivalists had time contemplating their emotions while blasting Slipknot. Like Islander and My Ticket Home, Bring Me’s are more focused on a certain subject or emotion.

That’s how you get the brilliant “Happy Song”. The lyrics sum up the reason such loud music exist. We sing a little fucking louder and it doesn’t solve our problems, but it sure makes us feel better. Sykes sound desperate to break out of the depression in the chorus (Notice how he emphasizes the word ‘fucking’. It sounds necessary this time). Then he moves to subdued vocals, admitting that he has no idea what to do with the storm in his head. The song ends with a breakdown and Sykes screaming the album title like he knows it doesn’t help but it’s better than nothing. It’s a song about fighting the depression that still acknowledges we can’t really get rid of that storm

The album can easily be divided to songs that get close to the song, and those that get a little lost. Nothing here is outright bad, but sometimes the idea of moving to melodic Rock gets the better of them. It’s weird to hear “Happy Song”, “Throne” and “Oh No” next to “Run” and “What You Need”. The latter songs sound like B-Sides that got big hooks but no conceptual focus.

The band is talented enough to make these songs worth blasting. Sykes’ vocals deserve a praise. He clearly sounds like a vocalist who only discovered melody recently. There’s an aggressive edge to his voice. He doesn’t need the Deahtcore growls anymore. His vocals with the thundering vocals in “Happy Song” are enough to make it sound heavy as a really heavy thing.

On the more conceptual half, the band sounds unstoppable. You’ve heard songs like “Follow You” and “Throne” before, but not like this. There have been many empowering songs, but few like “Throne”. Like Islander’s “Counteract”, it doesn’t sound angry. Sykes sound pretty happy on the verses. Covering it as a happy Pop song should be easy. On the former he’s transformed to a wimp who can’t help being attracted to someone that’s bad for him. He performs the song with all the vulnerability and hopeless the subject deserves. It’s the complete opposite of “Throne”.

Some songs land right in the middle. There is a great fuck-off song buried somewhere in “True Friends”. The punchline sure sounds good over such loud guitars, but all the other lyrics sound like they were copied from songs by lesser bands. It’s hard to believe some people still write lines like “It fell apart/right from the start”. Some just sound like B-Side, like the aforementioned “Run”. Nothing in it makes you want to turn down the volume, but it lacks something special. It’s just a good Hard Rock hook.

Even if it couldn’t utilize its concept in all the songs, it’s still a great Nu Metal album. It’s the sound of a band who experimented a lot, and now want their songwriting to carry them. They use their sound to enhance already good hooks. Even if there’s a gap of quality between songs like “Oh No” and “What You Need”, everything is worth spinning at least five times. Let’s just hope Bring Me won’t pull a back-to-basics record. They have too much personality and melodic talent to churn another Deathcore record.

3.5 happy songs out of 5