Meshuggah - Koloss - Review

Meshuggah - Koloss - (r) March 23rd, 2012

Meshuggah, a band well recognized by the millions, whom the devoted fans are patient with infrequent releases. Having been an active listener and observer since 1995 by way of a college station in Utah, Meshuggah for me had a different spin to the metal formula.

My first record was Destroy, Erase, Improve then on Relapse (this was before all the crazy mergers, and massive sell offs to subsidiaries, etc). Meshuggah cemented a very distinct, and unique approach to 'extreme' sound. The best way I could describe Meshuggah as followed: a mixture of harmonic, disjointed, hypnotic trance, all encumbered by the hardcore vocal style.  What attracted me to Meshuggah was the intermittent drumming patterns of Tomas Haake. The way that the rhythm offset the timing of the snare, and crash of the symbols.

Many songs on Destroy, Erase, Improve were fresh to my growing perception. They felt inventive, and for a brief moment something to marvel about. This was also the period where I was leaning more towards a lot faster, more harsher, and intricate complex styles. It would be years later before I found what I was searching for. Anyways, Destroy, Erase, Improve had a lot of great moments, but I felt it was a tease, because each successive release has seen major changes.

Meshuggah have carved out their niche to the metal scene, of course some still complain about the 8 string guitars idiom. For me I will always be partial to the Destroy, Erase, Improve sound, as that records sound used the 7 string aspect of which made it more appealing.

Giving them a very cadence of which got lost in the low B string with today's records. I think the low B end string drowns out rather than accentuates performance. I say this because of Nothing, I, Catch 33, and obZen are align in this structure. You still know it is Meshuggah, they don't try to be anything but their own thing.

Koloss returns what I really liked about they're early works, but herein is a problem, they don't work in that construct currently. Each song is constructed around a conclave of harmonic tomes, heavy rhythmic pulses driven behind pronounce bass work of Dick Lovgren.

'Djent' guitar rhythms of both Fredrick Thordendal, Marten Hagstrom push Jens Kidman's gristle like throat musings woven around rhythmic textures. Starting with I Am Colossus , The Demon's Name is Surveillance, Do Not Look Down, etc. those songs are identified by difference of tempo change, but upon conclusion of the whole listening experience gives me impression of one large sentence, broken up by nasal pauses. If I were to pick one standout track and that is Break Those Bones Whose Sinews Gave It Motion.

I am confident this album gives the listener something tangible to get into, but for me it felt like a long drawn out thematic overture that I and Catch 33 were, its low drone drab circa 2012. Maybe its the retreading, or maybe its the ebb and flow of creative influence. I felt tired, and bored after listening. I am on the fence whether Meshuggah is getting stale, and redundant. Koloss tries to push Meshuggah in new areas, but it falls into I've heard it before, with minor sprinkles of "oh that's interesting", and then back to paint by the numbers reality.

A very important key highlight is the artwork. Going for the Tool design approach, its layer upon layer of detail. Those who have the record, know what I am talking about. Something that sorely is missed with touching, feeling, and reading what you've just purchased.

It is not that I don't like Koloss, in fact Meshuggah will always have a key place in my collection for their uniqueness, but its 2012 most of what is left of the genre has worn thin. Unfortunately after 20 plus years of extreme music it may be time to consider a different path of expression.

For the vested interest of debate every Meshuggah record released has had its own motivation, and who knows where Koloss will fit into the lore. It takes years to fully digest the pieces, yet I think that will depend largely on whether people like it, because to me it isn't keeping my interest. Thanks for reading.

B.