Katatonia - Dead End Kings - Review

Katatonia - Dead End Kings -  (August 27th, 2012)

Its been almost three years since Night Is The New Day was released (09), have Katatonia moved into fresher pastures, and newer places that doesn't meddle in the sameness that Night was?

In this review I feel as if that Katatonia try, but the merit of which they ignite that right element of balance seems to labor in an abject course of extreme indifference.

I want to like what Katatonia does, but underneath I'm having this argument of what direction they want to go. For example another Swedish stalwart Opeth took the reigns of the progressive front and melded that with their death metal schtick, whereas Katatonia started in death metal, morphed into a Cure'ish band, but lately are sitting laboriously in one place trying to figure out new things.

This isn't a bad thing, every band has to evolve their sound. I say this because Dead End Kings feels like retreading on old themes/concepts. Rhythmically there isn't a lot variation, and there is a steadily concerted effort to make it that way. The flow of this record is more subtle, and the cadence is more in the layering of slowness that drifts along throughout the record.

Katatonia adds some symphonic elements, along with a sprinkling of female vocal touches, while I'll lament does give Dead End Kings an interesting perspective, yet for me it falls incredibly flat in its execution.

The distraction for me is in the drumming. The performace gets in the way of the presentation. There is a obvious bluesy feel from prior work, but overall I get no real enjoyment from it.

Two members from the recording session of Night Is The New Day (Fredrik and Mattias Norman) are gone, and thus new blood was needed to bring in new life and direction.

While Dead End Kings tries to give a glint of blues, while infusing some kind pop inflection, the idea still is very formulaic. I think in its nadir the motif should have been more about the new players, and what they could interject into Katatonia's brand, a lost opportunity. I feel this record used almost blatantly most of 2000's output.

It could also be about the facet of our business/musical style of the times. Most of what is already established is tired, and wearing itself in brittle tatters. Each band I think has that 'iconic' message it's portraying, but here with Sweden's more accessible group, it has become more about pop formula rather than eclectic charm I think they have.

Having seen them live, pretty much sealed the eventual deal that I wasn't going to be on board. I keenly believe it is all about presentation. How you sell this to the masses. This would be why the accessible element is needed, as pushing things forward just isn't in their ability at this stage.

I've been keenly aware of their output since 2006. I really do like The Great Cold Distance, and a couple songs off of Last Fair Deal Gone Down. But the depressive element just turns me away, as for the live show it was rather pedestrian. Thanks for reading.

B.

Oingo Boingo - Dark At The End Of The Tunnel

Oingo Boingo - Dark At The End Of The Tunnel  

 Febuary 20th 1990

By 1990 Oingo Boingo were going on eighteen years (I'm counting Mystic Knights here), Danny Elfman, Steve Bartek, John Avila, Carl Graves, Johnny Vatos Hernandez, Sam 'Sluggo Phillips, Leon Schneiderman, and Dale Turner were present.

Dark At The End Of The Tunnel after numerous listens I postulate is subdued, and bitterly sanguine. Musically there's distinct bounce, crisp like hooks, calculated placed jazz, and polished production giving the listener a glossy preen. Dark At The End Of The Tunnel (album 7) shifted their presentation into a left of center cleft of polished adult contemporary.

Underneath all of the gleam, there lies an unpleasantness poking through. Dark At The End Of Tunnel reminds me of a incomplete catharsis. Though Dark At The End Of The Tunnel tries to work on a profound level. Their ingenuity, and outside the box approach were were long gone in lieu of a cliche foundation continued since Dead Man's Party.

Why? Because three years prior Danny Elfman's soundtrack composing pushed Boingo into the background. Orchestral involvement took him away from giving Boingo anything more, and he let it idle in a stasis of purgatory. The one caveat here is that Danny was gaining more notoriety for his movie scores, than his rock band Oingo Boingo. Though he kept trying to push Boingo into a new places of popularity he continued to fall short.

Dark At The End Of Tunnel was ignored because of the shift of interest of the industry, just as their final opus, Boingo never could get around the cult status. Songs on Dark At The End Of The Tunnel are composed with sprinkles of deft premeditated intent, but overall the substance is encased in a grandiosity of which often trips over itself.

I do give this record an ample amount of discretion because it gave me guidance to a very terse period of time. Song wise, they are standardized, and structured in short execution; its no frills, and straight ahead album. The obvious importance is upon the message its conveying, and that is change is abound, get used to it.

The brevity to the record lay in it's not so subtle lyrical aspects. Danny's excellent prose sometimes becomes preachy, and can alienate the listener. For example: Try To Believe, and Right to Know I feel takes away from the heft that accompanies the first five songs. One can still notice the starkness of the first half of the album, and where it begins to unravel. I somewhat believe it crumbled what could have been a halfway decent release.

With all of this, Dark At The End Of The Tunnel is a mix of ideas trying to coalesce. It makes its statement, then goes off into its own weird oddity. No matter, I still listen to this record, given its flaws, and its mistakes. It has a place in the history of Oingo Boingo, and I still find myself talking about this record long after it was released. Having the time to digest, and integrate all the elements, I'm confident in my assessment, its okay, but it is not the best Oingo Boingo offered. Thanks for reading.

B.

Killing Joke - MMXII - Review

Killing Joke - MMXII - (April 2nd, 2012)

My introduction to Killing Joke came in 2008, with Pandemonium, its a eclectic shrapnel of guitar tone, heavy on modulated frequency, and pummeling pitch made me an instant devotee. It had a industrial element that bound all the textural sounds together. The attitude is always clear, and mean, yet it evokes a futuristic (then) atmosphere missing in some of the contemporary works.

Killing Joke never cease to amaze me, whether it is in the compositions, or the demeanor, it gives me a visualized organic template which accentuates the course vocals, and the uber tight craftsmanship of the songs.

My journey this year takes me to the new Killing Joke MMXII. Stylistically its a relaxed harmonic record. Much of the bite, is as scathing, and razor sharp, but the overall structure feels subdued. There is a refined element to the prospect, yet Jaz Coleman is showing me that his melancholic, and prose is a pivotal element of which drives song passages. MMXII is more or less tame, yet the directness is heartfelt; whereas I thought and felt Absolute Dissent was mournful, and introspective.

Yet I would have liked MMXII to have had more oomph. Yes MMXII has it's moments, but I feel it fails on its established form. The one caveat here is I love the shit out of the guitar. I love the ambiance, and harmonic touches, and all the layers of Geordie Walker's fretwork. I am super impressed one can still get that with the gruff meaty power, and in my opinion just blows away anything out there today.

Thanks for reading.

B.

Drudkh - Eternal Turn Of The Wheel - Review

Drudkh - Eternal Turn Of The Wheel - (February 24th, 2012)

****/*****

Drudkh are a Ukrainian folk black metal band, whom have been doing their brand of music since 2002. Drudkh I feel never miss a chance to give the listener an interesting album. Their last record Microcosmos was my first introduction, and this year had me checking out their back catalog especially Autumn Aurora, of which I like a lot.

This year comes Eternal Turn Of The Wheel, it has a sound that is ambient, electric, boastful, and primitive. I feel their natural tendencies straddle the folk idiom with the black metal trappings. Vocally it is a mash of torture, and deep bone crushing agony.

Since I have no other frame of reference to pull from, Eternal Turn Of The Wheel is unique. It has power missing in today's category of metal. Drudkh rekindle my love of what makes music in a general sense enjoyable. I've been tired of late because of the glut, and sameness that has permeated the style.

There is a wink to an occasional acoustic number, but the timber, and overall element of electric composition gives the musicianship a crisp, and tight finish. It gives me immense joy knowing that no matter the barrier, there is heft behind the creative process.

Blending the folk and metal together is a very different component, as I believe Arkona, and Slechtvalk,  (two behemoths) in their respective locales tackle the folk usage with a more accessible aspect. Though completely different birds of a feather, there is the harsh (Drudkh), to popularized (Slechtvalk, Arkona)

The extremes are very noticeable, and are as diverse in their execution. I feel as though Drudkh are their own separate animal, which should never completely gel with the more popularized folk metal brand. That is just fine for me. It needs to have a balls to the wall sound, that kicks you in the teeth, and never lets go. Letting you the listener know who, and what kicked your ass. Give it a listen, you won't be disappointed.

Thanks for reading.

B.

Ihsahn - Eremita - Review

Ihsahn - Eremita (6/18/2012)

My story with Ihsahn begins around mid 2001, where I was listening to Into Nightside Eclipse by Emperor. It was a cacophonous rattle which muddled around inside my skull. It echoed in a place I wasn't prepared for, and that took some serious getting used to. The extremes used in that record, coincided with my taking a curious glance at Emperors body of work.

From recollection, Emperor's early material is hard to decipher, let alone pin point through all uber balls to wall guitar tone pummeling me. Songs like Wrath Of the Tyrant strafe across my (at that time) limited scope of Black Metal.

The album that clicked with me was Anthems To The Welkin At Dusk. I begin to take serious notice at the craftsmanship of that record. Its prickly, and shows no mercy in what it sets out to accomplish. When I am having a shitty day, Anthems brings joy. Whereas IX Equilibrium, and Prometheus didn't grab me like Anthems did. Ihsahn's use of (in my opinion) his staccato waltzy rhythm is an effortlessly committed to spirit. Since this was my first taste of Black Metal, I was learning its cadence, and repetition.

Once I started gaining insight, and what to listen for, it became clearer that I was a bit overzealousness in my outspoken assessment of Emperor. I feel I've grown accustomed to that sound, but favor Anthems over the other albums. In that regard I knew what to find when it came to the inflection, and expression from various bands. It took time, but I think I got the gist of the style. Whereas, I've followed quite closely Ihsahn's work, and I've never looked back since.

Eremita overall is jaggedly sharp, and careens off and splinters in various directions. Though it does not wain very far from the structure, there is melody, and disjointed compositions. What was familiar with The Adversary, angL, and After (a trilogy) are fragments of distant memory. Eremita takes the listener into new areas, yet are concertedly familiar. It doesn't stray too far from the brute force that Ihsahn is known for, and paints with his musicians brush.

Arrival, the beginning track pushes me in a a place I've not really been familiar with. The rhythmic approach, and focus is distinctly Ihsahn,  and yet I'm getting a very clear hint that change is in store. The thing that I'm figuring with Eremita is that it wasn't made to feel like it's part of you, in fact it feels traveled, introspective, and jumbled in a row of ravaging thistles. To these seasoned ears, it was like having a face staring right back, through a distorted ether. Its jarring to say the least.

The (Saxophone) which made its entry in After, is prominent with Eremita. I think Ihsahn has decided upon morphing a bit of what was expected, and changed the script a tad for his personal musical evolution. He's carved out a very peculiar album, and underneath there is a lot going on.

Guests like Devin Townsend on Introspection, Jeff Loomis,  Jorgen Munkeby (Saxophone), Tobias Ornes Anderson and Einar Solberg of Leprous, and Ihsahn's wife Heidi Tveitan all contribute to a varied album. I think, and feel Ihsahn fuels what is missing in a genre mired in its stagnated adversity, and I think ultimately having a way to transform, and evolve are hallmarks to the craft.

Though the challenge was to make something tangible, and inventive, Eremita shines were few can focus on any specific fret, or area. If the songs themselves don't elicit a response from me, then what is the point? Music should evoke a response, provide a jumping off point for discussion, Eremita is a record that makes for great conversation. Plus, I continually uncover more layers on repeated listens!

Thanks for reading.

B.

Overkill - The Electric Age - Review

Overkill - The Electric Age - (March 27th, 2012)

Album #15, what you see is what you get with Overkill, they are a strong, studious, and vicious in execution. This is how I likes my Overkill.  DD Verni is in excellent form, whereas Bobby 'Blitz' Elsworth is his most venomous with his shrieking vocal style. Returning are Dave Linsk, Rob Lipnicki, and Derek Taller.

Released in March this year, The Electric Age doesn't disappoint. You know its them by the pronounce bass of DD Verni. One of the things I've admired about Overkill is the consistent dedication of putting out the most intense sound manageable. In today's glut, and sameness, we need a band like Overkill to show the masses how it should be done.

Nothing really hits the jaw like the  Electric Rattlesnake, Wish You Were Dead, and Old Wounds, New Scars. The fact Overkill are still doing the Thrash style is impressive considering all of the major ups and downs the style has endured over the years. Overkill never really went away, they just kept digging at it, never giving a shit about what anyone said. The Electric Age is what they do well, no bullshit thrash, and be damned of any consequence.

My introduction to Overkill was in a roundabout way. Through a friend, I got to hear WFO (Wide Fucking Open). My jaw dropped by the upfront bass work DD Verni did, then there was Horroscope, and I was hooked. I went back through their catalog to see what I was missing. I missed them by a good decade plus. No matter, I'm glad to hear Overkill, now if I can just see these guy live.

Thanks for reading.

B.

Oingo Boingo - Boingo - Final Album

Boingo - Released May 17th 1994

Technically their 8th and final album (as I'm counting Danny Elfman's solo record So-Lo) is a record of major shifts in tonality, and execution. Specifically we are introduced to a new guitarist Warren Fitzgerald of The Vandals.

The usual parties included Danny Elfman (vocals rhythm guitars), Steve Bartek (lead guitars), John Avila (bass), and Johnny Vatos Hernandez (drums). Whereas Carl Graves, Sam Sluggo Phillips, Leonard Schneiderman, and Dale Turner are relegated into the background, while they do get album credits, little is known as to their contribution.  As most of the record had a distinctly guitar punch rather than the keyboards, and horn section of prior material. Overall its a melancholy record, with heavy sprinkles of orchestration.

Why was this record shift so pronounce? Tonally the shift from the 80's peppy, polished, and heavily produced, into a distortion laden, and impishly sarcastic folk tome throws the listener off the scent. With Boingo there isn't anything left of their 80's sound, it is a focal testament to the constant evolution Danny Elfman brought to Oingo Boingo.

With Boingo, its execution and theme are dark, cynical, and subversive. Boingo serves the listener (at first) with a palate of heaviness, and after begins to mellowing out. At first I was put off by it, yet its allure was in the hypnotic strips of the orchestral pieces, and hidden within songs were layer upon layer of introspective prose.

The first song Insanity, is a dark woven construct, and prickly. At the very core rips out every belief, and bares rabid teeth to make a crucial point: humanity is fucked. It shapes what essentially becomes the entire motif of the record. The song weaves a crescendo like wave, interspersed with using a choir of children seems unique, and off kilter. Every time I hear this song, the rhythm, and tapping of the drum sticks puts me into a hypnotic trance.

Hey! the second track welcomes me into a elegant poetic form. Shifting one into a folk manner, as this is a off the cusp (what the hell moment?). Yet it works, the honesty in which alludes so many, Danny is upfront with the message. He cares not for what you or I think.

Then comes Mary which shivs me with its cruel execution. A song about suicide told from the perspective of Mary. When I listened the emptiness is pronounce. The hard road of travels, and the pain of realizing that life has moved on, and people within the circles forget. Its deft in execution, and can be harsh for those first hearing this.

Can't See Useless, a song about everything going wrong. Nothing works, and no matter the gist of the situation, it can be a bear of a struggle to stay upbeat. I sometimes have to skip this as this is very difficult song to get through.

Pedestrian Wolves, one of the most curious aspects of this song is how it goes into two directions, throwing me into a dizzy fit. Using both a waltz, and reggae rhythm, which breaks up continuity of the guitars.  The lyrical prose is filled with a reference of horror, and elation. Its a strange affair to behold.

Lost Like This, having heard the demo (1983) and what would be is interesting. It pushes the upward tick in the way the heavy drop of reality settles. While it isn't standard fair of Boingo, it has its own purpose of showing what Oingo Boingo were doing.

Spider, a radio friendly number, not my favorite.

War Again, a song about all the coverage of the Gulf War (1991), and the lessons America has yet learn in the ways of diplomacy. Pretty political in the scope, and its execution. I still think Little Guns off of Good For Your Soul(1983) makes a better assessment. I felt like Danny was repeating the same things.

I am the Walrus, a Beatles tune, done in a modern Boingo way.

Tender Lumplings, kind of an odd arrangement, yet I should add here, that way after this record came out, I went on a search for B-sides. Sure enough the songs like Water, and Vultures were omitted due to constraints of the (then) compact disc size.

Vultures song follows right after Tender Lumplings which I think should have been left on. I was more than miffed after finding this out years later.  I believe it broke up the flow of the final release. With Tender Lumplings going into Change almost quickly, my ears could pick out a major edit. I found these songs online, and they are essentially a garbled mess (maybe poor mixing?).

Change is by far longest track Oingo Boingo ever did. It gives insight of that final evolution of the band in the form of this song. I fell deeply into this as it spoke to me in it's layering. The way this evolves is curious to me because of the flow and description it evokes. If ever there is a heavier moment, this is the track.

For this record it's construction is not simple, but its woven with a guitarists hand. Touching upon folk mood, parlaying a disjointed ambiance, and emotional staining jumbling forth. The Poly/Indo/Asian rhythms are prominent still, but the drumming is strictly adhering to a progressive style, rather than to the atypical new wave rock format.

Nowhere on this record is there a reference to any of Oingo Boingo's zippy, bizarre 80's arrangements. This is essentially a record so far removed from what they were known for, it was why I had a harder time associating with the record.

When I write about the overall appeal of Oingo Boingo, it is because of the breadth and style they brought. They never really got out of that stasis of being a niche West Coast band, and that I think harmed their overall acceptance. Front man Danny Elfman, put up great distance to his fans, as it was more out of wanting to be done with the whole thing.

I think Danny Elfman's key gift as a musician is in his keen potent observation, as it derives a lot from unfair industry criticisms, and a kind of pop music rejection. Though he had made more of a name for himself with his soundtrack work, Oingo Boingo were a entity few cared to notice or even acknowledge.

When I look back Oingo Boingo flexed, and gleefully poked at the status quo. Nothing they did gelled with the popularity construction, nor in societal acceptance. Hits were few, as their core audience derived of a few die hard fans. Boingo were left alone to do whatever they wanted, which in this day in age is unheard of.

Because of the niche aspect, Oingo Boingo struggled mightily, from many of the interviews I have parsed, Danny Elfman's struggles seemed to be around the label disinterest, and the lack of finding motivation to continue on with any of it.

He felt he'd done all he could with Oingo Boingo. The changes, the trials, and struggles were enough to put it to rest in 1995. I am extremely glad to have been part of their journey, but as these years drag onwards, I appreciate, and respect the work created. Thanks for reading.

B.