Die Band könnte für Fans von THE MARS VOLTA interessant sein.

Zitat:Before you read this, I am assuming you have heard the Ghostship EP. If you haven”™t, go do it, it”™s brilliant.

Wow, how long have we been waiting for this now? 4 years or something? And it”™s finally here. Many of you, especially you Fall of Troy fan boys, must be wondering how this measures up to the Ghostship EP and their previous release, Manipulator. Well, I question you back”¦ what are you expecting?
Their self-titled album, the Ghosthip EP and Doppelganger all have this sense of ”˜rawness”™ to it, which is one of the main reasons why they grew a fan base in the first place. To people who listened to the Ghostship EP, let me put it like this: more vocals, better instruments and a sense of The Mars Volta looms about it as some points (Deloused era, naturally).

The problem The Fall of Troy has is that it”™s fans are (in my eyes) one of two people, the people who love them for the previously mentioned rawness and their live performances, then there are those who have been waiting for this band to create an album that truly fills their artistic imagination. This album reaches the limits of their imagination like never before, with brilliant production and effects.

Chapter I: Introverting Dimensions starts playing in a similar yet alternative fashion to the EP, some new eerie sounds are playing the bass line from the original while Andrew is tapping along and Thom and Frank come in. It continues to remain pretty similar, but with Thom”™s new vocals and a number of extra production elements, such as Thom dubbing new lines over his own voice in the chorus and a number of new effects are used to achieve that ”˜creepy ghost ship”™ sound they were aiming for.
One of the things that will probably split the opinion on this song is that Thom doesn”™t scream as much, it seems he”™s singing a lot more on this record and he”™s a lot better too, especially with Frank backing him up on vocals. Franks vocals are quite different to Thom”™s, but they mix for a treat when they”™re singing together, if you want to hear Frank”™s vocals on their own, check out ”˜...Of Stalwart Fads”™, his own band.

In terms of the band”™s performance on this album, I think it”™s the top of their game. Andrew has really improved in my opinion; his beat has become appropriately quicker in some sections and has rewritten some sections quite drastically, but for the best. Thom still has his impressive guitar skills, but more importantly, his vocals work has really, really improved and the fact that Frank can harmonise with Thom so beautifully purely amplifies the fact that they are both great vocalists. Frank”™s bass playing is sadly a bit drowned out, but his technique gives it this subtle roar which really works.

Now I should mention Chapter IV: Enter the Black Demon and Chapter V: The Walls Bled Lust, which are probably the more famous tracks off of this album. Yet again on Chapter IV and V, you”™ll notice the main differences is Thom”™s voice and Frank”™s voice taking almost complete dominance over the rest of these songs, as pretty much the rest of the song remains unchanged, which is great, as instrumentally, these songs have been top-notch since they were written. The best way to look at it is that these old songs have returned with a new ”˜paintjob”™, they”™ve dressed these songs up with brand-new spanking production and effects.

I also noticed that, lyrically, they songs remain unchanged too, with Thom screaming that they”™re being threatened by some enemies on their ship (Part I).
”˜Shoot to kill, but they just won't die!
The bow starts to tip, out of the corner of my eye.”™
It also has the conversations with the demon remaining on there (Part V).
Black Demon – ”˜God's not a goldmine, God's on the inside, selling everybody on the frontlines out.
Did you think your were right side in, maybe inside out?
Reaching for, the gun, to load and persuade you, to stay...”™
The lyrics naturally work together to tell a story, it's worth checking them out (hopefully the physical copy will have a lyric booklet).

Trying to piece this concept together is interesting, but I the lyrics gave me the impression that they”™re sailing on their ship, then they”™re attacked by a demon ghost ship that destroys the boat and somehow gets into Thom”™s head, tormenting him in some weird universe before sending him back into the water and for him to manage to get to the shore and save himself. This is purely my own interpretation though and I haven”™t got to make out the lyrics to Chapter III.
Chapter II: A Strange Conversation, this wasn”™t even featured on the popular demo; I believe this was just a cheap little single they did. So how has it been improved/butchered you may ask? Well, yet again, it”™s very similar to before, but one section has been a bit modified and there appears to be a presence of a female vocalist in this song at one point (as well as Chapter III), it”™s either that or Erak has gone Bixler-Zavala on us, which is fine, either way [Turns out it is likely to be Ryan Donnelly from Schoolyard Heroes, a band that is friends with The Fall of Troy, so no suprise there]. Due to the previous recording sounding pretty horrible, it”™s nice to see this song in the form that it imagined to be. To me, the verses are pretty epic and amazing; resulting in this being one of the best Fall of Troy songs to exists.

The interludes are better than I imagined, this is where some comparisons to The Mars Volta”™s Deloused in the Comatorium can kick in a bit, as I”™m sure many people who have heard The Mars Volta have noted how in the middle of some songs they go into some quiet freestyle interludes. Well, they draw from that, but to give a sense of ”˜calm after the storm”™ as they small instrumentals are incredibly beautiful.

Last, but not least I would like to mention Chapter III: Nostalgic Mannerisms”¦ this song fits the rest of the album like a glove, while also contrasting by having the least amount of heavy parts. I don”™t want to spoil this song too much for everyone who hasn”™t listened to this yet, but there are some pretty experimental parts in this sea of interludes that start at roughly half-way through the song. I was not disappointed.

My conclusion is that this album was not a let down in a slightest, providing you were hoping for The Fall of Troy to try and progress and improve upon the sound of the EP and the band themselves. I think they were waiting for a time that would allow them to fully accomplish their vision that they had of this album and with a new bassist, good production and having released the previously mediocre Manipulator, they obviously felt it was time to kick things into artistic overdrive. If you wanted the Ghostship EP exactly the same as before (but with two new tracks), then you are out of luck, my friend.

A masterpiece.

Pros:
- Thom”™s vocals are much improved and Frank”™s are good too.
- The core of the songs remain relatively unchanged.
- The new production and effects help this album come alive
- Nostalgic memories to those have heard the Ghostship EP.
- I believe this could really influence other post-hardcore and punk acts to expand on their sound.
- A lot better than the awful Manipulator.

Cons:
- Their much adored energy and ”˜rawness”™ aren”™t anywhere near as visible as on previous releases.
- Less screaming. Although I prefer it that way.
- Despite the fact I enjoyed Thom's singing, it's become quite obvious it's a very selective thing.

All I can do is urge you to listen to it as a whole, with no disruptions and try to enjoy the music. If you don't, you don't... If you do, then that's brilliant.

VÖ: 2008

Genre: Retro Psych Prog

Label: Rise Above Records

Herkunftsland: Großbritannien

Für Fans von: Black Mountain, Pink Floyd


Tracklist:

01. Semi Permeable Men-Brain
02. Child Of The Thunder Cloud
03. Deathwatch
04. Cannon Misfire
05. Pact

Spielzeit: 46:25


Line-Up:

David Wileman - Guitar, Percussion, Synths, Vocals
Nicholas Whittaker - Alto Saxophone, Clarinet, Flute, Recorder, Synth, Percussion, Vocals
Alex Crispin - Lead Vocals, Piano, Organ, Synths, Percussion
Daniel Pomlett - Bass, Guitar, Percussion, Vocals
Nicholas Richards - Guitar, Ebow, Synth, Percussion, Vocals
Ross Hossack - Synths, Tapes, Filters, Percussion, Vocals
Luke Foster - Drums, Synths, String Arrangements, Vocals

Zitat:Heute ist es mal wieder Zeit für eine wunderbarliche Nebenbeschäftigung: Mit einem Digitalkopfhörer und Rotwein ausgestattet, lasse ich Florian Silbereisen und seine Zombies die Videos, den visuellen Unterbau für Kopfhörermusik, darstellen. Ein Genuss! Ich glaube, viel schrägere Bildhaftigkeiten kann selbst DIAGONAL nicht produzieren. Und die fertigen hier schon ein musikalisches abgedrehtes Karussell an, dass die Wangen glühen. Florian hat gerade einen Tigerkäfig betreten und füttert die bedauernswerten Grosskatzen, als DIAGONAL eine mehrstimmige, fast beschwörende Linie singen, ganz so wie ein Flehen, ein Raunen "Beiss den in'n Kopp rein”¦ lieber lila Tiger!" Florian ist entronnen und tut vor dem Käfig entsetzt, denn gerade erst ist er den lila Tigern entronnen. Schnitt, TRUCK STOP. Realsatire. Rüber zu "Wetten dass!?" Glattheit, Tumbheit allenthalben.

Die Briten, welche zu diesem Wahnsinn den Soundtrack liefern, benutzen etwa so alte Instrumente, wie TRUCK STOP zusammen alt sind. Denn hier ist nichts diagonal, hier scheppern die Trompeten von Jericho, moogt güldener Staub, wallen uns plasmaide Töne entgegen. Die fünf Beiträge besuchen unsere Innereien, vornehmlich dort, wo die Seele ihre Teilchen niedergelegt und versteckt hat. Denn hier ist kein Part wie der andere, irgendwer hat mal den lächerlichen Versuch unternommen, das alles mit "Progrock" einzugrenzen, das ganze Gefühl einzufangen. Harhar, kannste vergessen.

Das ist ein Trip, ein balsamiger Schaukelstuhl, aus dem sich kaum noch auszusteigen lohnt. Denn hier wird der Hörer mitgenommen, darf erleben, zuhören und was am besten ist: herunterkommen. Zuhören und runterkommen, welch ein Luxus. Das Schlagwerk ist dafür da, uns in der hiesigen Hallwelt zu halten, das ist modern gespielt und wohlakzentuiert. Ansonsten soll es hier kurzum eine uneingeschränkte Hörempfehlung hageln.

Lee Dorian, dessen Label Rise Above 1989 mit grindigen NAPALM DEATH begann, hat mal wieder die filzbeschlagenen Keller Britanniens durchreist und hat in Bristol diese junge Combo ausgebuddelt. Die Neo-Prog-Bewegung, sofern es sie geben sollte, es gibt sie. Monumental und episch, jazzbehangen, voller klanglicher Ideen und Ideale, so präsentiert sich eine der Psychedeliken des laufenden "Quatrons". Und das steht für eine lange, lange Zeit.

Zitat:Dark Tooth Encounter is the name of the new music project from Yawning Man/Ten East lynchpin, Gary Arce, and drummer extraordinaire, Ten East”™s Bill Stinson. Although joined by Scott Reeder (Kyuss, Obsessed, etc.) and Mario Lalli (Across the River, Fatso Jetson, etc.) on almost all of the seven tracks on their debut album, Soft Monsters, the approach is much more experimental and cerebral than many of the players”™ previous work, sounding like an update on the classic ”˜70s art-rock of Eno. With Gary supplying guitars (including lap steel) throughout, as well as keyboards and electronics; the metronomic beats of Bill Stinson; the angular guitar of Mario Lalli and the fuzzed-out bass work of Scott Reeder, Dark Tooth Encounter remains a unique proposition.

Purely instrumental, and aided by the astonishing production and studio work of Mike Shear, their music is a mixture of several different elements. There are two almost rootsy-sounding tracks in “Weeping Pines” and “Engine Drone” (a nine-minute epic which remains the album”™s centerpiece and masterstroke, a phenomenal work that brings to mind the acid-fried guitar workouts the Meat Puppets once perfected); a breezy space-rock number such as “Deep Sleep Flower,” which borders on My Bloody Valentine shoegazer territory; the minimalist, aggressive drive of “Radio Bleed;” and the quieter, plaintive passages in “Alloy Pop” and “Hyper Air.” Anyone with an interest in post-punk instrumental rock will get a kick out of Soft Monsters.

Their sound incorporates small elements of the players”™ other outfits, sure, but there”™s also hints of math-rock, prog and shades of country-rock and psychedelia. DTE have already caught the ears of Ash Ra Tempel”™s Manuel Gottsching and Pell Mell”™s Steve Fisk, both of whom wish to work with the band in the future, but for now you have Soft Monsters, an album sure to be loved by stoners and art-rockers alike.

Nach unzähligen Splits folgt nun hier das 4. Studioalbum der schwedischen (Fun-)Grindinstitution. Fans können eigentlich blind zugreifen, der Rest sollte dies genauso stilsicher gleich lieber lassen.

Erschienen am 30.11.2008 bei Obscene Records.

Tracklist:

01. Download Death
02. External Wounds Of Vagina Power
03. Goatrider
04. Funny Ice-Dwarf
05. In The Sickness Of The Sea
06. Our Rice
07. Payday Mayday
08. The Flying Penis
09. I Don't Wanna Live, I Don't Wanna Die
10. Suffer In The Dark Of Darkness
11. Gorilla Behaviour
12. The Triumph Of Grind
13. Cake Full Of Maggots
14. Mythomaniac
15. Leprosy On Jeopardy
16. Foptbath Fuck-Up
17. AC/Deicide
18. Some Kind Of Mongo
19. Organ Smoothie
20. The Spaghetti Strangler
21. Eight Legs And A Death
22. Wrath Of The Farmer
23. Flamencorpse
24. Swimmingpoop
25. True Glove And The Purgatory Passion
26. Wheelchair Impaler

Spielzeit: 34:12

Hörbeispiele + Info:
http://www.myspace.com/birdfleshgrind
http://www.metal-archives.com/band.php?id=2186
http://www.birdflesh.net/