Opeth - Watershed & Opeth 2011 Tour

Not all prog is created equal. Take prog metal, for instance. In one corner are Mastodon, who are prog to the core: long songs, lots of noodling, worship of 1970s Genesis (at least on the part of drummer Brann Dailor, an avowed Phil Collins acolyte). In the other corner are Dream Theater, who are equally prog: long songs, lots of noodling, worship of 1970s Rush (at least on the part of drummer Mike Portnoy, an avowed Neil Peart acolyte). Hipsters love Mastodon, but they won't go near Dream Theater. Dream Theater fans are equally unlikely to sport Mastodon t-shirts.

Perhaps this split is due to friction (in the musical sense). Mastodon are closer to prog as it was in the 70s-- self-indulgent, yes, but also earthy and analog. Dream Theater are the apex of prog's, um, progression since then. They're digitally clean and hyper-precise, poster boys for Pro Tools. For whatever reason, the white belt set gravitates towards prog's older aesthetic (see also the Mars Volta), while men with ponytails discuss kick drum pedals in Dream Theater forums. If "indie" is an aesthetic, it stops at certain thresholds of precision and heaviness.

Opeth, interestingly, have straddled both prog aesthetics. The Swedish band's first record, 1995's Orchid, was wonderfully raw. It was half death metal and half "other stuff"-- folk, prog, blues, jazz. The rawness came from a low budget and nascent songwriting, but it conveyed an atmosphere that Opeth never regained. Their records afterwards decreased in friction as their chops improved. In 2002, the band became practically frictionless. It split its heavy and light sides into two records, Deliverance and Damnation; the latter was gorgeously intimate. 2005's Ghost Reveries likewise went down smoothly, like a rich hot chocolate.
Watershed is an intriguing exercise in discontinuity. Unlike Orchid, which was jagged because the band didn't know how to do otherwise, Watershed finds Opeth willfully flying their freak flag. An acoustic intro with pleasant male/female singing leads straight into barreling death metal. A piano wanders into "Hessian Peel" apropos of nothing. "Burden" has an acoustic outro in which one guitarist detunes the other's pegs. It's delightfully horrible-sounding; such goofiness is refreshing for a band that's almost offensively virtuosic.
"The Lotus Eater" offers the greatest jolts. An intro of quiet humming drops into what seems like the middle of a death metal song-- but with disarmingly sunny vocal harmonies. Three minutes in, dissonant guitar lines spiral downwards like DNA strands. Later, a downright funky vamp appears, complete with chattering clavinet, as if Stevie Wonder had dropped by the studio. Aiding such absurdity are Opeth's two new members. Fredrik Åkesson brings lead guitar flash to a band that's prided itself on restraint, while drummer Martin Axenrot swings with verve. (Near "Hessian Peel"'s end is a monstrous groove that's like Meshuggah dancing a jig.)
Despite these hijinks, Watershed won't convert Mastodon fans en masse. It still has too many renaissance faire moments; its death metal is as aggressive as ever. After 18 years, Opeth's trademarks are well-established-- sinuous riffs, retro 70s keyboards, Mikael Åkerfeldt's Jekyll/Hyde act of death growls and mellifluous singing. (He sounds like your lovable Swedish uncle who once recorded a folk album.) But Watershed has friction, and friction brings heat. Those left cold by metal's po-faced tendencies might well warm up to it. 
(review:Cosmo Lee)


Tracklist :
1.Coil
2.Heir Apparent
3.The Lotus Eater
4.Burden
5.Porcelain Hurt
6.Hessian Peel
7.Hex Omega

Support The Band : myspace.com/opeth
Download Watershed : http://www.mediafire.com/?tv5olwvwogy

 

 Opeth 2011 Tour :

10/06 Bonnaro Music Festival, TN-USA

17/06Copenhell , Denmark

19/06 Hellfest , France

26/06 Graspop Metal Meeting , Belgium

02/07 Sonisphere festival , Finland

05/07 Πλατεία Νερού/Rock God , Hellas

08/07 Getaway Festival , Sweeden

10/07 Sonisphere UK , UK

16/07 Kavarna Rock Fest , Bulgaria

23/07 Heavy T.O. Festival , Canada

24/07 Heavy MTL Festival , Canada

 

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Limbonik Art - Phantasmagoria

 I loved Bathory growing up. I mean, I REALLY loved me some Bathory! That crazy Quorthon and his one man band really tore it up while basically giving birth to the black, folk and viking metal genres all by his lonesome. However, A.B. (After Bathory), many one man bands rose up in the frozen, gloomy black metal basements of the world, some good, many not. Therefore, when I heard that long running Norwegian black metal act Limbonic Art was now essentially reduced to a one man project for co-founder Daemon, I was more than slightly uneasy about the release of this, their seventh album, Phantasmagoria. Further enhancing my unease was the advance word that the album would again feature a drum machine (a long running negative for this band). With unease and hesitation upon all our minds (or at least mine), here we go.

Limbonic Art was always a pretty raw black metal band with very clear classic/symphonic elements, but they never strayed anywhere near the level of Dimmu Borgir or other overly symphonic, polished acts. Additionally, Limbonic Art was always exceptionally proficient at creating a real atmosphere of evil and ugliness on past albums, which is so crucial to the entire black metal experience. Happily, these elements have managed to survive on Phantasmagoria to one degree or another despite the shift to one man DIY.

What becomes pretty obvious on Phantasmagoria is that the new Limbonic Art sound is way more stripped down and simpler than in the past. There are  still symphonic elements but to a lesser extent than ever before.  This album is a more primal version of their sound and it works very well on most of the tracks.

Things, however, get off to a pretty rough start with the opening title track, which although starting off promisingly with hyper-speed and ugly black metal, is badly undercut by an enormously ill-conceived and fruity keyboard flourish with matching vocals that sound like they belongs on Broadway in Mama Mia. Although the song changes gears and morphs into a creepy, atmospheric plodder, that damn flourish just ruins this song and I couldn’t take it seriously. Mercifully, things get back on track thereafter  and “Curse of the Necromancer,” “Crypt of Bereavement” and “Dark Winds” are all stellar examples of bleak, raw evilness and some of the better black metal I have heard in some time (“Dark Winds” standing out for its slow and evil vibe).

The production here is pitch perfect for black metal histrionics, with an under-produced raw sound that isn’t so murky and crappy that the music is lost in a frosty haze. Likewise, the album artwork is very cool and well suited to the mood of the music. In fact, it may be one of my favorites in a while. Now, for the downsides. One is the drum machine. I am very down on the programmed drum machine thing. It feels cold and emotionless and not in the cool, frowning black metal way either. At least the drum sound on here is slightly less robotic than on some albums but I still wish they had a real drummer. Secondly, the best material is all jammed into the first half of the album, with the second half being nowhere near as impressive. That isn’t to say that Phantasmagoria is only half good, just that one half is noticeably superior to the other. Lastly, that goddamn flourish in the title track!! ( Sorry, it bothered me that much.)Overall, this is a pretty respectable return for Limbonic Art and most of my fears about the quality were unfounded. If you like your black metal raw but still containing melody, you will probably appreciate this. I will always prefer their first few albums but I think Phantasmagoria will live in my iPod and get some respectable playtime as well (except that opening track).

(review:AngryMetalGuy)

1.	Prologue / Phantasmagoria
2.	Crypt Of Bereavement
3.	Curse Of The Necromancer
4.	Portal To The Unknown
5.	Dark Winds
6.	A World In Pandemonium
7.	Flight Of The Minds Eye
8.	Apocalyptic Manifestation
9.	Prophetic Dreams
10.	The Burning Vortex
11.	A Black Sphere Of Serenity
12.	Astral Projection

Support The Band : myspace.com/officiallimbonicart

Phantasmagoria :    http://rghost.net/2048454

 

Septic Flesh - The Great Mass & Septic Flesh Tour Dates 2011

Be strong, readers, because this is what they'll say: 'But this is no different than any of the other bloated symphonic projects from bands like Cradle Of Filth and Dimmu Borgir , bro.' That's what those in opposition, the enemies, the unbelievers of The Great Mass will hit you with immediately when you recommend this album to them in your next music list or during your next social gathering, what have you. For Septic Flesh (or Septicflesh, one word, following their 2008 reunion) will be facing stark levels of resistance from many music fans with their new album, even more so than their 2008 critically well-recieved Communion, and seemingly by advertisement alone, they rightfully should: these Greek metallers have gone completely overboard with their creative ambitions. Big, grandiose, and to those with set ears against show-y production values, pompous, The Great Mass is what many traditionalists of death metal will hate, ridicule, and are sure to make comical example of, without having even listened to it.

Indeed, on paper The Great Mass is a disaster of epic proportions waiting to happen. But do you know what is so awesome about it? Septic Flesh pull it off. Yeah, the grizzly, long-haired bastards somehow actually pull it off. The incorporation of the Philharmonic Orchestra, the Choir of Prague, and blackened death metal, all centered around a firm melodic base fed through the bark and snarl of Spiros Antoniou and the clean harmonizing vocals of Sotiris Vayenas, come together for the band's strongest release thus far. They escape the pitfalls of contemporaries Hollenthon and The Monolith Deathcult with The Great Mass by placing their artistic vision on an equal playing field with their talents as a band, none higher, none lower, this time while escaping the cheesiness that kept key sections of Communion back as well.

Communion's "Sunlight/Moonlight" and "Anubis" were the main offenders of said cringe-worthy moments, Vayenas' cleanly sung choruses often ruining the driving, relentless mood of the blackened death metal songs. But this time, however, Vayenas is placed in a more subordinate, harmonizing role to that of Antoniou on The Great Mass, and the difference to be heard between Communion and its songs is worth noting because of it. On first single "The Vampire From Nazareth", Vayenas harmonizes with the choir on a beautiful concluding vocal line that brings what was a sweeping orchestrated death metal assault on the senses to a peaceful refrain. Latter cut “Apocalypse”, featuring some of the album’s best songwriting, has the singer playing second fiddle to the bassist, joining in at the song’s second chorus with a powerful, and catchy, dual vocal performance of cleans and growls. The two work in perfect union with each other this time out, even making careful, noteworthy use of the choir vocals for maximized effect.

The interplay of the vocalists are not the only area that Septic Flesh show unity among its, and the orchestra's, members, though. Surely to be pertinent to any fan of Communion is the band's own humility when it comes to following the Philharmonic Orchestra’s lead on The Great Mass. The sweeping and enthralling instrumental heights that are reached by “Oceans of Grey” because of the orchestra’s direction and prevalence in the mix is among the greatest of the album's highlights, and the interplay between strings and guitars on "Mad Architect" showcase Septic Flesh letting the orchestra take the reins so that it might set the song's progressional path. No longer do the orchestrations feel tacked on, or more importantly, lacking in substance in the compositions. Septic Flesh have maximized the symphonic aspect of their music at least thrice-fold, and the results are powerful and driving.

Of course what's given to string beds and choirs is surely to be taken away from the 'metal' aspect of Septic Flesh's sound – or, once again, so it would seem on paper. Yet The Great Mass overcomes said theoretical loss of its head-banging gauge with the band’s sense of balance in managing its incorporation of styles on the album. The addition of a powerful production job and mixing from Peter Tagtgren also aids in the balance of orchestra and metal in that Vayenas' guitar tone and Antoniou' soul-gripping growl are given a powerful edge and max volume in the final mix. If there's one thing holding The Great Mass from a obtaining a classic title, though, it’s the ever so slight drop in quality that’s found in its middle section - "The Undead", in particular, with its relatively uneventful progression. But that’s really just a small flaw that does little to disrupt the flow or consistency of what Septic Flesh have unleashed upon all of us here with their best album yet. The Great Mass is everything that extreme symphonic metal bands have ever wished to make, yet have all too often fallen short: it’s majestic, orchestrated, undeniably powerful, and is actually a marvel in itself by not falling apart at its seams under the sheer weight of its creators' ambitions. What Septic Flesh have accomplished with The Great Mass is worth recognition and respect from all members of the metal community, traditional or not.

(review Sputnik Music)

Support The Band : http://www.myspace.com/septicfleshband

The Great Mass : http://www.mediafire.com/?iu3rghmwo90yb3p

  

 Here Are The Next 20 Upcoming Sjows: 

24/06 Los Angeles *House Of Blouse*

25/06 San Fransisco *Slim's*

26/06 Portland *Roseland*

27/06 Seatle *Showbox At The Martket*

28/06 Vancouver *Commodore Ballroom*

29/06 Chicago *House Of Blouse*

30/06 Calgary *McEwan Ballroom*

02/07 Edmonton *Edmonton Events Center*

03/07 Sanskatoon/Canada *Odeon*

04/07 Winnipeg/Canada *Garrick Center*

05/07 Sait Paul *Station Four*

07/07 Louisville *Phoenix Hill Tavern*

08/07 Atlanta *Masquerade*

09/07 Orlando *Beacham Theater*

10/07 Ft. Lauderlade *Revolution*

12/07 Pittsburg *Mr.Smalls*

13/07 Norfolk *The Norva*

14/07 JAXX *Springfield*

15/07 JAXX *Springfield*

16/07 New York *Best Buy Theater*

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Ludicra - The Tenant

It’s always a pleasure as a man nearing forty to hear the occasional CD that makes you sit up a little straighter in your chair, cock your eyebrows a bit in a knowing manner, and just generally enjoy the CD. Those little moments seem fewer and farther between these days, especially from bands from the home sector. If it isn’t some mallcore inanity of a Shadows Fall/In Flames rip off, it’s some emo/gothic wannabes killing time and my ears with the most pedestrian sounds I’ve heard in two decades. So when a band emerges from San Francisco and manages to attract and keep my interest, as in the case of Ludicra, I’m only too happy to indulge myself accordingly.

Tracklist:

1. Stagnant Pond
2. A Larger Silence
3. In Stable
4. The Undercaste
5. Clean White Void
6. Truth Won't Set You Free
7. The Tenant 

Support The Artist : http://www.myspace.com/ludicra

Ludicra - The Tenant : http://www.mediafire.com/?uzzn3zmezyo

Fleshgod Apocalypse - Mafia

Last year, Fleshgod Apocalypse's Oracles threatened to make some significant waves. A close cousin of the acclaimed Hour of Penance, Fleshgod crafted a claustrophic blend of ridicu-blast brutality and classical embellishments. The combo raised a unibrow or two, but, ironically, their formula worked against them. Their death metal attack was familiarly Teflon'd (it did, after all, sound a lot like Hour of Penance), and the classical elements came across as tacked-on and awkward. Oracles' tide waned severely before it reached shore.

But, as bands like Beneath the Massacre have previously proved, sometimes amped-up devastation is best served in bite-sized bursts of violence. Mafia, a five-song EP, showcases Fleshgod Apocalypse's best material yet, and in an ideally sized portion.

The first track, "Thru Our Scars," runs the band's stylistic gamut. In short, it's a mission statement. Opening with a two-second orchestral snippet, the song quickly dives into insane blasting and lightning-fucked riffing, before topping itself off with rapid-fire verses that bludgeon and bounce with fervor. The mad sweeps and operatic vocals that comprise the chorus are cool as hell, too, but when taken as a whole...it's a little much. And that was the problem with Oracles--restraint was in short supply. These guys like to beat you over the skull with the kitchen sink before shoving the plumbing down your throat.

Thankfully, they let the next two tracks breathe a bit, and the results are impressive. "Abyssal" is a fast-but-focused cutter that has a shoutalong hook reminiscent of Aeon (circa Bleeding the False); the wildly triggered double bass work tries to launch the song into hyperspace, but emotive and stout guitar work keeps it grounded. A brief orchestral segue (a fucking fluid one, at that) leads into "Conspiracy of Silence," which succeeds in spite of some recycled noodling--mostly because the pseudo-operatic vocals add some tasteful depth to an otherwise merciless attack.

So, yeah, sorry for getting a little long-winded about a decidedly second-tier death metal EP, but it's an impressive piece of work. Time will tell if Fleshgod Apocalypse will use "Abyssal" as a stepping stone to more laconic (and therefore more engaging) full-length exhibition, or simply become one of those bands that fares better in the shorter format (Vader and Jesu, we're looking at you). If the latter scenario proceeds to unfold, well, keep these nuggets coming, Fleshgods. Mafia is an essential listen for modern DM freaks--if not for its powerful original material, certainly for its absurdly destructive cover of "Blinded By Fear."

Tracklist :

1. Thru Our Scars
2. Abyssal
3. Conspiracy Of Silence
4. Blinded By Fear (At The Gates cover)
5. Mafia

Support The Artist : http://www.myspace.com/fleshgodapocalypse 

http://www.mediafire.com/?ymhjm0wzznt 

   Ж TL ДLЮKED  Ж

Suicide Silence - The Black Crown

Suicide Silence were founded in 2002 in Riverside (California) and were at that time, a side-project of many of the members of other groups. The band performed their first show at a local area within Riverside and at that time, the line-up consisted of the members Chris Garza and Rick Ash as guitarists, Mike Bodkins as bassist, Josh Goddard as drummer and two vocalists, Mitch Lucker and Tanner Womack. Shortly after their first performance, Womack was fired from the band and they released their first demo the following year. They released their second demo in 2003. After the replacement of Josh Goddard in 2004, the members took the band more seriously and were no-longer deemed as a side project. They would then advance to record their third and final demo in 2005. Following within 2005, the band released their first public release entitled, "Suicide Silence EP" which was released in the United Kingdom through Third Degree Records and later re-released through the English label^.

Two years later, the band released their debut full-length album "The Cleansing" The album was recorded with Krissan Duwason, mixed by Tue Madsen, produced by John Travis and features artwork by Dave Mc Kean .

It debuted at number 94 on the Billboard 200 selling 7,250 copies the first week, and became one of the best-selling debut albums in Century Media history. With the success of their debut album, Suicide Silence were included to take part in Mayhem Festival that took place during the summer of 2008. They toured Europe with Parkway Drive and Bury Your Dead, following a successful US tour with the same bands. Also touring with Parkway Drive,A Day To Remember and The Acacia Strain in mid 2008 during the time when they were included to perform at Sweat Fest. At this point Suicide Silence were beginning to gain a wide range of fans throughout the world.

 The arch "enemy" of puritan deathmetallers, american act Suicide Silence have reached the "love it or hate it status" faster than they should have although they have only been around for 6 years. But if you put aside the scene kids and the trend around their name you may discover fresh yet brutal music. So, this is their third album so far and the  bar is already too high.

 After 2 very successful full lengths and countless fans praising deathcore hymns like "The Price of Beauty" the youngsters bring us "The Black Crown" only to remain on top of the cream. Not much has changed, not much has been added to their style, yet with a strong frontman/throat they offer tunes to beat your friend to death and to destroy the neighbour’s garden statues. I think that what made them hit the spot is the fact they keep it simple. Their songs are short and straight forward, something you are bound to meet again in "The Black Crown". Groove, faster parts everything is weighed to the last details so the result is balanced and extremely catchy to the ear. On the other hand this could prove to be a kickback at some point. Repetetion, not daring enough can lead to boredom but this is just me running off too far..

 It’s way too early to be talking about such a thing, though I think their next move will be a career defining one. The band is in a productive period and after a mediocre "No Time To Bleed" gains ground with a good newcomer, able to draw some attention to it. With a surprising guest appearance by Jonathan Davis from Korn on "Witness the Addiciton" and mosh anthems like "Fuck Everything" and "You Only Live Once", "The Black Crown" is destined to climb the charts sooner or later. We only need to see them on stage to have a first hand view of what today’s music can do. Oh, did I mention Frank Mullen(Suffocation)is here too? DIG! 

Tracklist:
1. "Slaves to Substance"
2. "O.C.D."
3. "Human Violence"
4. "You Only Live Once"
5. "Fuck Everything"
6. "March to the Black Crown"
7. "Witness the Addiction" (featuring Jonathan Davis of Korn)
8. "Cross-Eyed Catastrophe"
9. "Smashed" (featuring Frank Mullen of Suffocation)
10. "The Only Thing That Sets Us Apart"
11. "Cancerous Skies"  

Support The Artist : http://www.myspace.com/suicidesilence 

Download A Couple Of Songs : http://www.mediafire.com/?g28zftukqa3bub2

The Acacia Strain - Wormwood

In the past, I’ve never gone out of my way to listen to The Acacia Strain. The first time I actually sat down and paid attention to a song of theirs was when they released the first single, Jonestown, off of their fifth studio album titled Wormwood. I loved it. It had a simple groove, angry and emotional lyrics, and I loved the sound of Vincent’s growl. Even though I really enjoyed the song, I had mid to low expectations for the album. All I can say after listening to the album thoroughly is, wow. I did not expect such a pissed off, misanthropic, sonic assault. Not only is it angry, but boy oh boy is it heavy. These two aspects obviously walk hand in hand and The Acacia Strain use that to their advantage, and to full effect.

The first four songs hit you in the face with a sledgehammer swung by a bloodthirsty gorilla. The band whips out an eight string beat down that never lets up. What should turn into a monotonous chug fest is saved by Vincent’s emotionally seeping and brutal screams and dark/mysterious melodies layered over each other in an expertly manner. Each breakdown is placed in a precise moment in order to reach each songs desired dynamic potential and they aren’t thrown in for the sake of “teh br00talz”. The breakdowns are almost needed. Yes, I just said that. You need something slow and crushingly heavy in order for Vincent’s ferocious and offensive chants to seem appropriate and not out of place. Listen to songs such as Ramirez and Bay of Pigs for examples, the latter arguably has the best breakdown of the album. The Acacia Strain really had a good idea of what they wanted this album to sound like. Every song flows into another, in a good way, and without trying hard at all you can easily pick out a memorable moment in each song.

Many may find the lyrics horrendous, cheesy, or maybe even offensive, while only some will understand what Vincent was going for. Vincent stated before the album release that these would be the most personal lyrics he has ever written. After listening to the record the previous statement becomes an obvious fact. He is angry, really angry. The themes involve Christianity, whores, and misanthropy, lots of misanthropy. Nothing totally new or innovative, yes, but I’m quite confident in saying that I have never heard someone pull it off as well as this. The lyrics are so emotional and in your face that they become therapeutic. If you are ever pissed off, this is the album to listen to. You can really hear the anger behind Vincent’s voice and it makes the lyrics much more meaningful. It’s easy to relate to them as well. If you hate Christianity listen to The Hills Have Eyes. If you are pissed off at an ex, listen to BTM FDR. The album is filled with memorable lines that you just want to yell to the world; however the trick is to not take them seriously. For example, in BTM FDR, you’ll hear one of my favourite lines: “You spread disease when you spread your legs. Time to suck today’s dick. I hope you choke on it.” The line is laughable, in a good way though, but it’s not like Vincent was going for something very emotional and deep here. There are lines like this throughout the album and makes the overall listening experience much more exciting.

The album, of course, does not come without its flaws. While the album helps The Acacia Strain stick their neck out of the tired deathcore genre, it does little else. It’s not very innovative, and variety is rarely found. On the first few listens some songs will seem very boring. Besides that, it’s hard to find anything to complain about. Although I quite enjoy Vincent's growl, it gets dull by the end of the album and it's disappointing he has such little range. The guest vocal appearances are rather useless as well, playing fairly small roles. What I can't seem to understand is how the guest appearances sound so similar to Vincent's vocals. If I was left totally unaware of the fact that there were guest vocals, I wouldn't have even noticed it was a totally different person.

Without exaggerating, I can easily say this is one of the heaviest albums I’ve ever heard. That reason alone is worth checking this out, but there is so much more to it. The songs flow well, and song writing is ace overall, it is very emotional and relatable, and features many well done breakdowns that will remind you why the abused technique ever became popular. This isn’t the run of the mill deathcore album, and several listens are acquired in order to give final judgement. I love pleasant surprises, and so should you. In other words, listen to this album.

Support The Artist : http://www.myspace.com/theacaciastrain


http://hotfile.com/dl/54852689/d6e829f/The_Acacia_Strain_-_Wormwood_%282010%29.zip.html


                       Ж TL ДLЮKED  Ж

Salem - Yes I Smoke Crack

Bass becomes Salem, a witchy  Chicago/Michigan/New York trio consisting of John Holland, Heather Marlatt, and Jack Donoghue. In the wake of last year's resurgence of lo-fi noise pop, an aesthetic that leaned heavily on treble, their emphasis on the low end distinguishes them from other young bands immersed in 4AD haze. And, as part of SALEM's apocalyptic lo-fi murk-pop aesthetic, it no doubt helped bring them to the attention of Patrik North, previously associated with Montreal label Summer Lovers Unlimited (Crystal Castles, the Tough Alliance, the Teenagers). Last year North co-founded a new label, Acéphale, with DJ friend Rory Them Finest, and SALEM's debut, the Yes, I Smoke Crack EP, was their inaugural release. London-based Merok (Klaxons, Crystal Castles, the Teenagers-- getting the picture?) picked up SALEM for a follow-up, the Water EP. Each limited-edition, vinyl-only release reveals a group with a distinctive style and a couple of should-be indie hits, but not quite the craft or consistency of their finest labelmates just yet.

Their best track, "Redlights", opens both EPs. Marlatt's ghostly, Cocteau Twins-like vocals ring around scything guitar textures, funereal synths, and a rudimentary, bass-heavy electronic beat you might expect from Polow Da Don. It's the kind of disembodied, hard-to-pin-down pleasure that made Burial's Untrue so welcome a couple of years ago, with the indie production values and cigarette-smoking nihilism (Crack? ...Really?) of 1980s goth. As on Burial's "Archangel", the hook is just an evocative fragment, in this case about some things that are hard to remember, and some things-- the ones we haven't done yet-- that are hard to forget. It's not really so far from M83's electronic shoegaze circa Dead Cities, Red Seas & Lost Ghosts.

What "Redlights" illuminates, the rest of the EPs explores, to mixed effect. Slowed-down spookout muddles "Water" and "Snakes" hint at, but fail to fully inhabit, the downtuned alien vocal style of the Knife's Silent Shout. One of the quietest tracks, the calypso-tinged murderscape "Deepburn", sounds so rough as to seem unfinished-- are we really ready to get just as excited every time some new band without proven-tastemaker connections sends us a track like this? Still, listening to the Halloween shoegaze of "Dirt", the thudding violence of "Skullcrush", or the deadly sexual confidence of "Whenusleep", you can hear not just bass, but also a promising new group who-- like Glass Candy in the realm of after-hours Italo disco-- have a signature style, and now just need to develop it. Bass should be a means, not an end.

Support The  Artist : http://www.myspace.com/s4lem


http://www.mediafire.com/download.php?mmdwjj4dwki