Adai - ...I Carry

Artist: Adai
Album: ...I Carry
Label: Radar Recordings
Year: 2007








Tracklist:
01. The March...
02. And Termination
03. Home
04. A Mark of Ownership
05. Hawkins

Download
pass: lateralnoise.blogspot.com

Adai is a textbook example of how to do it right in today’s tumultuous music biz. The two friends that comprise the band are hard-working, diligent, focused and, above all, they play a compelling, passionate blend of post-rock and metal. “[The band] originally was actually a four piece; two guitars, a bass, and a drummer. One of our guitarists and our bassist decided to leave,” drummer Justin Trujillo explains. “At the time we had some of our biggest shows lined up and [guitarist/vocalist Devin Mendoza and I] decided not to cancel them and instead see if we could make the two piece thing work. [W]e got a tremendous amount of positive feedback and decided to just stick with it.”

That relentless attitude is this Denver duo’s M.O. For their debut EP, …I Carry, surely they could have found a suitable studio in their native Colorado. But no, Trujillo and Mendoza weren’t going to settle for anything less than perfect, so they drove their van all the way to Massachusetts to record with one of metal’s most in-demand producers, Kurt Ballou (Converge, Cave In, Genghis Tron).

Since recording and self-releasing …I Carry in 2006-7, Adai has been hitting the road hard, touring with future labelmates Caspian, Junius, and Constants, among others. During that time, the band developed a relationship with Radar Recordings, who will be re-releasing …I Carry later this year. “We love everyone involved with [Radar] and they’re easily some of the hardest working people we’ve met in this industry,” Trujillo says.

One gets the sense that Trujillo and Mendoza are perfectionists. From working with Kurt Ballou, to tracking down Seldon Hunt (Isis) to design the sleeve for …I Carry, to choosing to continue as a duo– on their own terms– when bands with lesser mettle would have thrown in the towel prematurely; Trujillo and Mendoza clearly love what they do.

“Music for us is an emotional expression and it takes a lot for us to be satisfied with what we’re doing,” Trujillo explains. “That in itself has been the biggest struggle over the years we’ve been doing this but we couldn’t be happier with the results we’ve got so far.”- (metalmartyr.com)


Official site
MySpace
Buy it

Irepress - Samus Octology

Artist: Irepress
Album: Samus Octology
Label: Translation Loss Records
Year: 2007








Tracklist:
01. Pah no
02. Samus
03. Pistole
04. Snayk's tale
05. June ipper
06. Fiddler, yee-ryding
07. Frid/Ohmmartin E.e.k.
08. Nonografistole adendum (trampled to death by love)

Download
pass: lateralnoise.blogspot.com

Instrumental music that doesn't bore one to death is hard to come by, especially in a world like today. There are handfuls of bands attempting the instrumental sound and failing miserably. There are others of course that do succeed in such risky endeavors. Luckily for Irepress they are one of them. Instrumental bands have a tendency to bore an audience of listeners. Nevertheless, the conventions of their songs reach another feat: they are fun to listen to.

What exactly am I talking about? Well, Irepress, if you haven't already guessed it, is an instrumental band laced with hardcore sound. All in all it's a band we would expect to hear from the influences of today. However, Irepress stand out in a way that is very important: they don't follow the rules. Their music essentially, as most hardcore bands do, incorporates a slew of breakdowns. What's makes them so unique, however, is how crafty these breakdowns actually are, which his a blessing to all of us. Their musical style is a green thumb to today's established hardcore instrumental bands.

Luckily, to enjoy Irepress I don't have to see them live. Typically to really enjoy the full experience of a solely instrumental band it's important to see them live. However, the producer has done them well by incorporating the full air feel of the bands musical convictions.

Why listen to Irepress? Because it's fun and its epic. Imagine flying ninety miles per hour down a highway blasting Irepress and day dreaming of being chased by ninjas and directly above you is an alien spaceship awaiting the downfall of the world and you're the only one who can save the world. By the way, it's raining heavily and your family has been obliterated. That's the feel of Irepress, an epic entourage of expressive guitar and explosive bass.

It's difficult for me to point out the faults in this band. It's obvious that they have worked hard to record the album as tightly pressed as possible. They have completed the task of an instrumental band: to create music that doesn't need a vocalist. I actually tried sitting down and considering a vocalist to match the sound of Irepress. But there is no one that could still compliment the band and not delude the incorporating sound that the band has worked so hard to achieve.

If I had to describe the band I would have to title it “simple complexity.” The songs are very nicely strung together in a way that keeps your attention yet dares to prolong its minimalist nature. Something very daring it today's ADD culture.

I have to compliment the drummer on this one. The songs flow together smoothly because the drummer seems to send the band on its way. While the other instruments are the boat, the drummer is their sail, without him they are not lost essentially, but indeed slow paced. The drummer keeps the listeners interested. And for that I applaud him very much. Great musicianship.

To conclude, the only minor fault of the band is its distortion tone. Some may argue that the guitar tone is too compressed. However, it is of personal opinion that the tone is only necessary to continue the expression of the band as a whole. That's why they are a band, not just individual musicians. Buy this album; it will be worth your time. I'm going to see them live, and I hope you do to.

By the way, they have shared the stage with Wu Tang Clan and Immortal Technique. If you ask me, that's pure balls.-(scenepointblank.com)

MySpace
Buy it

Matthew Robert Cooper - Miniatures

Artist: Matthew Robert Cooper
Album: Miniatures
Label: Gaarden Records
Year: 2008








Tracklist:
01. Miniature 1
02. Miniature 2
03. Miniature 3
04. Miniature 4
05. Miniature 5
06. Miniature 6
07. Miniature 7
08. Miniature 8
09. Miniature 9

Download
pass: lateralnoise.blogspot.com

A proper album by Brian Eno and Philip Glass ranks near the top of my dream collaborations. The “Heroes” and Low symphonies don’t count, nor does the live transcription of Music for Airports Glass wrote for the Bang on a Can All-Stars: I’m talking about original collaborative work, something like The Pearl with Glass as Harold Budd. As Eluvium, Matthew Robert Cooper seems to dream of this collaboration, too, setting drones of Eno-caliber beatitude against piano and string themes of Glass-caliber austerity. But “Miniature 3″ is not an Eluvium track. By releasing it under his own name, Cooper signals a collapse of his usual dichotomy– theme and atmosphere blend into one liquefied mass. “Miniature 3″ evokes the gusty expanses of Christopher Bissonnette, or the hugely scaled ambiance of Stars of the Lid. Chords crest and break in super-slow-mo, and archipelagic bass tones wink in and out of a sea of stringed resonance. The longing that is so pronounced in Eluvium is here recessive and subtle, more insinuation than clarion call– the sound of a melody yearning for its orchestra.

Official site
MySpace
Buy it

For A Minor Reflection - Reistu pig vid, solin er komin a loft...

Artist: For A Minor Reflection
Album: Reistu pig vid, solin er komin a loft...
Label: Self Realease
Year: 2007








Tracklist:
01. Kyrrd
02. Reistu pig Vid Solin Er Komin A Loft...
03. Fallegt Utsyni
04. Ohljod
05. Okyrrd
06. ...Solin Er Sest Og Dapurleikinn Tekinn Vid Bless


Download
Download part 2
pass: lateralnoise.blogspot.com

For a Minor Reflection must sympathize with The Silent Ballet’s own editor-in-chief Jordan Volz. Though music critics have been saying that “Icelandic music is so beautiful it would make God cry if He had ears to hear it with and existed” for years, Volz proclaimed the fall of Iceland in his review of Múm’s Go Go Smear the Poison Ivy, commenting that the trademark Icelandic sound is really “all quite gimmicky, isn't it?” FAMR have looked elsewhere for their inspiration (at least from the musical end of the spectrum) to the relief of whiny, needy post-rock fanatics all over the world. It seems like the band has leapt from the proverbial frying pan and into the fire by escaping “gimmicky” Icelandic influences in favor of those that insidiously seep from the capital city of the second-largest state in the United States.

The album is a back-breaking hour’s worth of crescendo rock, opening with a nice introduction and then promptly forgetting that short “transitional” tracks are good for keeping an album flowing smoothly. Instead, they throw together five tracks that hover around the ten-minute mark, offering nothing in the way of transition but the resolution of the first song into the build-up of the next. The static nature of the album is not helped by the fact that all the songs are built using virtually the same structure. I don’t need to even describe it, honestly - any astute reader of this review will be able to identify the general crescendo rock song structure in their sleep.

The title track, “Reistu pig vid, Solin er Komin a Loft…” is the first of the long tracks on the album, and is so clumsy that it should have been left off the album altogether. If you’re going to play the kind of game FAMR are trying to, you’ve got to be an absolute master to get anywhere, and you definitely can’t use a track like this to introduce your sound to your listener. The transitions and build-ups are sloppy (around the 4:30 mark I visibly wince every time) and the climax is not worth the pain of the rest of the track, leaving the listener worried about what else is in store. After all, if they characterized their entire album by this track, what reason is there to believe that it should get better?

The next two tracks pick up a bit, at least being played competently, if unimaginatively. “Okyrrd” opens generically once more, with plodding bass and guitar hidden behind a screen of reverb. It also pulls the ‘introduce one instrument after another to sound like development’ trick that has been played so many times in the past. But around the four minute mark, after the false climax, something incredible happens: I start enjoying myself. At first, it’s nothing but pedal noodling on one guitar, but it is so unexpected that it sucks me in, then the pounding, deep drumming and faster, darker bass (eventually distorted) keep me hooked. It creates a darkness, a feeling that for the first time actually keeps the seasoned listener interested, and by the time the climax shows up, you’re cast along with it. “…Solin Er Sest Og Dapurleikin Tekinn Vid (Bless)” builds off of this momentum. Though it heralds a return to the more mournful, emotive theme that apparently every crescendo rock band ever wants to portray, it is done with such power and honesty that I wouldn’t have it any other way.

Reistu pig vid, Solin er Komin a Loft… is far too long for its own good, and shows the poor grasp of album construction and track selection that young bands are to be expected to make. Some crisp, knowledgeable editing could have done the album a world of good, as there is a raw honesty that I admire in the band’s work which is only inevitably downplayed due the frustrating nature of the CD. If FAMR analyze the work of their peers and channel their exuberance into new territories, then perhaps they will be the ones to bring Iceland’s sound back into the hearts and minds of pretentious critics like myself.-by Zach Mills(thesilentballet.com)

MySpace
Buy it

The American Dollar - A Memory Stream

Artist: The American Dollar
Album: A Memory Stream
Label: Planetary Records
Year: 2008








Tracklist:
01. The Slow Wait (1)
02. The Slow Wait (2)
03. Call
04. Bump
05. Intermission
06. Lights Dim
07. Transcendence
08. Our Hearts Are Read
09. Anything You Synthesize
10. We're Hitting Everything
11. Starscapes

Download
pass: lateralnoise.blogspot.com

The band American Dollar arranges songs into soundscapes and visions of futuristic music.
American Dollar has been together for seven years. MTV picked up the band's first song for its battleground television show. Their previous albums managed to become number one and two selling albums in Tokyo in 2007. (For them, "We're big in Japan," is true.)
"A Memory Stream" is a journey into new sonic territory. American Dollar has managed to make a true sound experiment while finding uncommon ways to explore the sonic world.
The song "Call" has a very repetitive drum machine part that seems looped. The pianos sound natural and the atmospheric quality of the track borders on techno. This music has a soothing quality that is suitable for dance clubs or someone listening to a CD player.
"Were Hitting Everything" has a synthy electric piano intro with gated electronic drums. This track could've been used on Stanley Kubrick's "2001: A Space Odyssey" soundtrack.
It has a very spacious sound quality to this track. American Dollar has managed to transcend the fixed space of the audio world with "A Memory Stream." It's a must for listeners of ethereal and new-age music.-by Rich McCracken II (metrospirit.com)

Official site
MySpace
Buy it

Tesa - HeartBeatsFromTheSky

Artist: Tesa
Album: HeartBeatsFromTheSky
Label: Old Skool Kids
Year: 2008







Tracklist:
01. I
02. II
03. III
04. IV
05. V
06. VI

Download
pass: lateralnoise.blogspot.com


Official site
MySpace

Husky - The Sea King

Artist: Husky
Album: The Sea King
Label: Self Release
Year: 2008








Tracklist:
01. The Drunkard
02. Flagship
03. Mayans vs. Martians
04. Aboard the Relic
05. Rejoice
06. Trading on the High Seas
07. Red Right Returning
08. Leeward and Easy

Download
pass: lateralnoise.blogspot.com

For their sophomore album, Charlotte, North Carolina's Husky has come up with a bit of a challenge. See, The Sea King is a concept album (based on “The Sea King” - the largest vessel ever built in Bowdoinham, ME, circa 1877), and Husky is an instrumental band. Even Peter and the Wolf had some narration, and that was more of straightforward yarn.

Those willing to invest the time can probably tie the individual tracks together into a cohesive narrative about a big fucking boat that one day sank in New York harbor, but for me, I'm just going to approach The Sea King as an album of songs and nothing more. Compared to their debut, the more landlubber named Circle the Wagons, Husky's certainly expanded their sound. While The Sea King still offers up plenty of dusty, Southern rock jams, there are also traces of straight forward rock (“Flagship”) and electronic fuzz n drone pyschedelia (“Mayans vs Martians,” “Rejoice”). Still, it's the semi-languid, sprawling tracks like “Aboard the Relic,” “Trading on the High Seas,” and “Leeward and Easy” that make The Sea King an impressive follow-up. The band seems most comfortable settling into a steady groove and letting the instruments express themselves. There's not a lot of fancy playing, but there's plenty of deep playing.

As with Circle the Wagons, The Sea King seems like one of those albums that's perfect for late night drives on long stretches of highway. It's good music to get lost to, and a fine collection of songs. (stonerrock.com)

Official site
MySpace
Buy it

Downliners Sekt - The Saltire Way

Artist: Downliners Sekt
Album: The Saltire Way
Label: dsekt.com
Year: 2008









Tracklist:
01. Scope Creep
02. Jewel Cases
03. Panic! Sonic Monk
04. Kaidan
05. Volga
06. Shulgin
07. School Daze
08. Mobilia Perpetua
09. Blackstock Mews
10. Shulgin (part II)
11. Point Omega
12. 1106 Etoile
13. Solstices




Download
Download part 2
pass: lateralnoise.blogspot.com

The band myspace declared “Bored as fuck with the Music Industry” and frankly we couldn't be happier. “The Saltire Wave” is a study in the marriage of electro-noise with break beat like elements but still with a post-rock core. On paper, it might sound like every other band out there but this band is really special as they bring an edge to the table that is undeniable. The band offers a lot of free music for download on their website downliners-sekt.com so there is no reason too at least go over there and download this album.
The albums firs song is “Scope Creep” the song starts off with a heavily distorted and dense guitar riff behind a jerky break beat. Every so often you think the song is going to turn on you but it holds it ground. “Panic Sonic Monk” is a song that after one listen it has left me speechless and a bit dizzy. The song is just an intense schooling in the mixing of so many different elements into a song. You can hear a strong bass going on behind it as well as and it just continues to build and suck you in for over 9 minutes. It is really an amazing tune that just blew me away with the noise level. I would love to see this done live. “Kaidan” is what we like to call a late night track. The song has a lot of small little elements that fit perfect for the headphone environment.
This album feels like it was made for me. It hit me in all the right places. The balance was there the sound was perfect. 65daysofstatic was a band who attempted to bring both words together but Downliners Sekt bring it together and then blow it up. -by John Siwicki

Official site
MySpace
Download it

The Evpatoria Report - Maar

Artist: The Evpatoria Report
Album: Maar
Label: Get A Life! Records
Year: 2008









Tracklist:
01. Eighteen Robins Road
02. Dar Now
03. Mithridate
04. Acheron




Download
Download part 2
pass: lateralnoise.blogspot.com


Official site
MySpace
Buy it (preorder - official release on 5/10/2008)

Shora - Malval

Artist: Shora
Album: Malval
Label: Conspiracy Records
Year: 2005








Tracklist:
01. Parhelion
02. Arch & Hum
03. Siphrodias
04. Klarheit

Download
pass: lateralnoise.blogspot.com

I've always been very sceptical towards bands that change genres with every new release. Shora, from Switzerland, is around since the late nineties. I still remember their debut cd that came out in 2000 on Grave Romance (Shaping The Random). It was one of the best European Converge / Botch styled metalcore releases of that year. Two years later Shora released a split cd with noise master Merzbow. Their songs on that split were fucking hard and extreme metal. And now, at the end of 2005, they're releasing an album that's blooming of delicate and atmospheric post-rock, combined with a touch of electronica. Isis? Yes, but different. Certainly, Shora has fully joined the league of bands as Godspeed You! Black Emperor, Isis and Red Sparowes. At first sight the four songs on Malval have all characteristics that are typical for the genre. It's only when you get yourself deeper into the artificial world of the songs though that their true force gets revealed. Because unlike many of the aforementioned bands, Shora's songs don't depend much on the typical crescendos and sudden explosions of melody. The powerful thing is that the songs remain very dynamic nonetheless because of unattended rhythmic breaks and slumbering melodies that nestle themselves in the back of your head. The third song, Siphrodias, is probably the best example of that. The guitars and moody noises are building up the tension and when you'd expect the song to burst out into the most emotional heavy part, there's just a few seconds of silence… It's details like these that make this album as powerful as it is. As said before, Siphrodias is a good song, but it lacks the underlying mood-shifting melodies that lift the three other songs on this album to a higher level. The first two songs, Parhelion and Arch & Hum, as well as the last one called Klarheit, are beauties of experimental rock. They're taking your mind away on a trip that's never revealing what's about to come next. And that's exactly what makes it so captivating. Everyone that's willing to do some effort to get into the instrumentally painted Shoral landscapes, is about to encounter the thrills of beauty, joy, despair and hope in just over half an hour of music. Malval is an album of undisturbed guitars, subtle drums and moody keyboard touches. Anyone into postrock can gear up for another instrumental mysterious voyage that might look a little typical at first sight, but that's far away from postrock clichés in the end. Forget about metal, Shora anno 2005 is softer yet touching souls harder than ever. No need to be sceptical. (semtexinc.com)

Official site
MySpace
Buy it

Joy Wants Eternity - You Who Pretend To Sleep

Artist: Joy Wants Eternity
Album: You Who Pretend To Sleep
Label: Beep Repaired
Year: 2007








Tracklist:
01. Exitences Rust
02. Above the Clouds Lies Eternal Sun
03. From Embrace to Embrace
04. Death is a Door the Opens
05. What Lies Beyond
06. Yet Onward We Marched
07. Uriel
08. You are the Vertical, You are the Horizon


Download
pass: lateralnoise.blogspot.com


Joy Wants Eternity is a 5 piece band based out of Seattle, Washington that by sifting through materials online would lead you to believe that they are another instrumental post-rock band. Honestly that’s what I figured it would be when I initially checked out the group’s page on MySpace, but I was pleasantly surprised to hear what began to play as soon as it loaded. The song, which was “Existences Rust” from their upcoming debut album You Who Pretend to Sleep, sparked the thought in my head that if I were to be in a band like that, then this is what I would want to sound like. So I was thrilled to find the actual album show up in my mailbox this past Friday and it has proved to be every bit as good as my first impression of them led me to believe.

Comparisons to fellow post-rockers like Mogwai, Mono, and etc. are sure to be pinned on these guys. It’s obvious that there are parts of You Who Pretend to Sleep that draw from these bands, but I found myself being taken in by the amount of warm feedback and the almost full scale ambient direction they tend to take the music at times. I would consider this album to be more motivated by past shoegaze acts than anything else. The crashes of slow melting feedback are quick to remind me of either Slowdive or Flying Saucer Attack, especially the more ambient and spaced out tracks like “Death is a Door That Opens” and “What Lies Behind”. To me, this is where they really excel, in creating such warm and lush sounds that will do more than get your blood pumping for a few mere minutes. Joy Wants Eternity has created an exceptionally beautiful and powerful sounding record that will wrap itself around the listener for eight solid tracks. I can’t recommend this one enough for those that enjoy both post-rock and shoegaze; it’s a great mixture of the two that will surely please fans of either. -by Jonathan (builtonaweakspot.com)

Official site
MySpace
Buy it

Exxasens - Polaris

Artist: Exxasens
Album: Polaris
Label: Consouling Sounds
Year: 2008








Tracklist:
01. Polaris
02. Mira Mama
03. Your Dreams Are My Dreams
04. Spides On the Moon
05. Blue Space
06. Milk Stars
07. Faster Than Speed Of Light
08. Gamma Channel
09. Storms
10. Melancolie
11. Exxasens


Download
pass: lateralnoise.blogspot.com

The future of post-metal is blurry. As blunt a statement as it is, I'll go even further and say that it has always been. From its inception, the genre has been searching for itself in the same bumpy, awkward way a blind man looks for its cane on a hungover Sunday morning. Ask ten different people what post-metal is supposed to sound like, you'll most likely get as many different answers. This is easily explained: every established band switches sounds completely in between albums, sometimes in the most harmful way (as usual, see Pelican), while those that aren't recognized as leaders try their best at copying their forefathers measure by measure. One could argue that it is standard procedure for a genre to take some time to find its marks; but post-metal has come to a point where there's been a debate among fans for years about its very existence(!). While some claim it's just a style that oscillates between melodic doom-metal and heavy post-hardcore, others state that it does exist, but is indeed comprised of and limited to anything that sounds exactly like Isis' Oceanic.

In such a context, as the new album queue swells up, it’s becoming painstakingly difficult to find anything good. Let's take a look at this year's pedigree: the new Russian Circles made a good impression, and... that's it. Six months, one noticeable album. The picture isn't pretty, and it makes me wonder; have we reviewers grown tired of the countless half-assed attempts at this music, or have the artists themselves? Some of these records sound like the people behind them aren't even trying anymore. I, for one, am ready to give a chance to anyone who still feels like making some good music. And on cue comes Barcelona's promising new one-man band, Exxasens.

As any astute reader of this review will have guessed, this is a long way from being the album of the year, but keep on reading. Polaris is one of those albums that give a very enjoyable impression on the first listen. Exxasens' music is catchy, tailored for the listener to fully express himself through the art of headbanging. Often, it's right after this first listen that most records of the sort fail to impress; the early excitement dies down, you start paying attention to more than the main riffs, which may lead to plain disappointment. Fret not, a more acute analysis of Polaris doesn't give heartburns, but it does point out the fact that something is missing.

Like I stated before, one of the plagues of post-metal is the distinct lack of originality in up-and-coming acts. Most tend to walk in the footsteps of their elders, in more or less successful ways. I can't help but feel that Exxasens relies too much upon what's been done before:obvious progression from quiet to loud, hefty use of layering, doom-esque basslines, subtle drum breaks every few measures; if you've listened to anything from the genre before, chances are you'll easily anticipate ten seconds in advance everything that's going to happen. Thankfully, and this is where Exxasens separates himself from his peers, it doesn't stop here. Some elements give Polaris a feeling of freshness, the most salient being the incorporation of electronic structures within the music. The album is very fast-paced and samples are thrown in here and there, while the drum breaks often resemble the percussions one can find on an idm record. Fellow reviewer Tom Butcher said it best in his review of Blackwaves' [album artist=Blackwaves]012[/album]: drumming can make or break an album. The drum work on Polaris is really what kept me hooked throughout my many listens, and while it's not the most innovative, it makes for a perfect backbone to the upper layers of sound.

For a debut CD-R, Polaris shows a great amount of potential. In a genre where fans have become used to disappointment, the bits of originality and seriousness Exxasens displays are enough to look upon his music in a positive way. What he needs now is to further explore his own voice and let go of the reassuring hand of the bands that paved the way. I can tell he has a genuine passion for his music, and that single fact convinces me that his next release will be one to watch out for.-by Samy (The Silent Ballet)

MySpace
Buy it

Expedicion A Las Estrellas - 72

Artist: Expedicion A Las Estrellas
Album: 72
Label: None
Year: 2008





Tracklist:
01. Daksha Kinich Ahau 3113-5.125
02. La Distancia Se Oscurece Entre Petalos De Luna
03. 1979-2007
04. Ens Seminis (Phoenix)
05. Entropνa Cegada Ante El Horror Autumnal Del Satelite Mas Distante
Al Corazσn...


Expediciσn a las Estrellas is a conceptual cosmology band with a unique genre in Latin-American; they have a huge influence by the atmospheric sounds from East and Europe. They have made an amazing fan-base through all this years: they are epic, emotional, and inspirational gathering a perfect balance between metal and post-rock. ‘EALE’, as all the fans know, they find a spiritual landscape with their music. The lyrics are beautifully builded in Spanish, describing us what is going to happen in the year 2012. All the band members are artists in various genres such as films and documentary’s makers, photographers, painters, literature and very special music lovers. This band is the pioneer here in latinamerica and we all want to be part of this expedition, they write beautiful notes to the stars and feed us back with
spiritualism. This Promo EP is is one of the most expected releases of this year for the underground masses. ‘72’, it's the sinergy to fly to 9, the number of GIO "god of red oceans, their god as they describe him. All members are Sxe and Vegans but they respect each lifestyles and try to give a unique cosmovision doing the "mirror effect" the sky represents the earth.


Download
pass: lateralnoise.blogspot.com


Official site
MySpace
Buy it

Mouth Of The Architect - Quietly

Artist: Mouth Of The Architect
Album: Quietly
Label: Translation Loss
Year: 2008








Tracklist:
01. Quietly
02. Hate And Heartache
03. Pine Boxes
04. Guilt And The Like
05. Generation Of Ghosts
06. Rocking Chairs And Shotguns
07. Medicine
08. A Beautiful Corpse

Download
Download part 2
pass: lateralnoise.blogspot.com

What is rage? I'm not talking about the angst that bands like A Silver Mount Zion pander to in order to make a living (hey, we've all got to get by somehow), but pure, unadulterated rage. It seems that, at least in America, we're rage-deficient, a passive-aggressive generation, if you will. We bottle up our rage at our jobs, at those around us, at wars, all to maintain a sense of comfort in the known. What I am saying is nothing new, nothing extraordinary – it is probably a clichéd platitude by now – but that doesn't make it any less true. The question that needs to be asked, however, is where has the rage gone? Where is the purifying, obsessive voice that the emotion lends to human individuals? Dayton, Ohio's Mouth of the Architect has found it, and wants you to find it, too. Quietly is the band's first complete monument to rage, a beast of a release with a purpose.

Quietly is the album's ironic title – as you'd expect if you're familiar with the band, there's not too much that is “quiet” about Mouth of the Architect. The release does step into the realm of significant ambient passages for the first time, however, and the effect of contrast is nothing short of stunning. The eerie “Pine Boxes” creates the most haunting effect on the release with samples of a woman and man repeating the phrase “I just remember this feeling of... emptiness.” The most interesting part about the track is how it is used to contrast with the track that precedes it, “Hate and Heartache.” The track begins with a sample urging people to anger, to rage against the perceived failings of the world around them, which leads into an overpowering composition the likes of which Mouth of the Architect is famous for. The band follows this with the aforementioned track of passivity, of emptiness, to highlight the distinction between the two: “Hate and Heartache,” though painful and difficult, is ultimately energizing and filled with vitality, and preferable to the mere emptiness that follows. Perhaps the most interesting decision the band makes regarding the ambient track is that it isn't immediately followed by a brutal explosion of distortion. Mouth of the Architect knows how effective quiet-loud compositions can be, and an explosion right after such a quiet piece can really get the listener right where you want them (they do, in fact, use this trick later in the album). But the band wants the unsettling feeling created by “Pine Boxes” to sit with you, and so “Guilt and the Like” develops slowly. If this isn't masterful album organization, I don't know what is.

All of this is elegant conceptual grounding for the heart of the album, “Generation of Ghosts.” The band has found their source of rage in the lack of rage around them, in the utter passivity and emptiness of their peers, and this is the point where the statement is made. Everything is executed flawlessly, from the opening wall of sound to the inclusion of female vocals, used to contrast the guttural growls that dominate the album. But really, the most important thing about the track is that it completes the band's molding of the listener, from a passive receptor of events to an angry, active interpreter, able to roar out with Mouth of the Architect themselves and join them in the beautiful celebration of this achievement.

I must admit, I've never been a huge metal fan – most of it just seems too much like a masturbatory display of technical skill (actual or imaginary) without any consideration to how the music actually sounds (perhaps you find the image of three or four big sweaty guys wanking into your ears a pleasurable one, but it just doesn't appeal to me). But Mouth of the Architect consistently manages to set itself apart from the rest of the genre, creating vibrant and powerful post-metal that goes far beyond the mere massive riffs of many of the band's peers. This is metal to think about, to participate in, and most of all, to listen to actively. Don't put it on and forget it – you'll be doing yourself a huge disservice. Quietly sets the bar for post-metal, challenging any and all other albums in the genre to attempt to top it in even one aspect, be it cohesion, instrumental brutality, imagination, or conceptual prowess. This album is the real deal – avoid it at your own risk. -by Zach Mills (thesilentballet.com)

Official site
MySpace
Buy it(Official release on 22nd of July)

The Severely Departed - The Severely Departed

Artist: The Severely Departed
Album: The Severely Departed
Label: Self Released
Year: 2007








Tracklist:
01. A Small Divide
02. Closer To Home
03. Exhale
04. In The Coming Days
05. No Help Comes
06. Sincerely Yours
07. Thaw
08. To A Friend

Download
pass: lateralnoise.blogspot.com

The Severely Departed play beautiful and powerful instrumental rock. It is becoming more and more difficult to stand out in the instrumental scene but The Severely Departed are able to do just that with these eight songs. The band has a knack of keeping things interesting along the way while never falling into the “sameness” that plagues so many other instrumental acts. At times they recall Pelican in the way they are able to balance beautiful instrumental passages with a heavy metallic nature. However, not to sit still, the band only lives in that realm for a few songs. Other pieces bring to mind the wistful instrumentals of bands like Explosions In The Sky. Yet, The Severely Departed are able to put their own unique spin on the post-rock sound. The band adds depth to these songs with instrumental flourishes of piano and synths. At times, the piano/synths actually take the lead leaving the guitars to fight in the background. All these additions and changes of pace give even more weight to these already densely packed songs. Fans that live within the instrumental scene might find something to complain about here, but as a casual post-rock fan, The Severely Departed have kept my attention and then some. (urlfan.com)

Official site
MySpace
Buy it

Monera - Well Dressed Ghosts

Artist: Monera
Album: Well-Dressed Ghosts
Label: self released
Year: 2008









Tracklist:
01. Rape Whistle
02. My Left Fang
03. Hey Hey Knife
04. Eggplant Parmesan
05. Swampwoman
06. Shuteye
07. Eating Germany
08. Godsex Hallucination
09. Wives
10. Portable Grin
11. Mouses
12. Untitled

Download

Monera is an independent, aggressive, and experimental music trio based out of the Northeastern United States.
Monera, comprised of Ryan Hare, Zach Lipkins, and Dan Stevens began in a single dorm room in the fall of 2004 in upstate NY. Hare and Lipkins had already been performing in another band in Long Island, NY and met Stevens while attending the college at SUNY College at Oneonta. The three clicked right away and began crafting a sound all their own, with Hare on guitar, Lipkins on drums, and Stevens on bass; with all three sharing vocal duties. They started playing the Open Mic night at the local pub almost every Tuesday under the moniker Tonedeaf and Barefoot. After receiving positive feedback on their performances, the trio decided to get serious and change their name to Monera and record a demo. Hare and Lipkins now reside in Boston, while Stevens is currently in upstate New York. The group manages to perform and write despite the distance separating them.
Monera creates a new sound that has been described as being vicious enough to start a fight to, groovin’ enough to dance to, and complex enough to excite music geeks of all interests. They released their full-length record, “Well-Dressed Ghosts” in 2008. The album was comprised of 11 tracks; new and old songs, some which were written when they first began playing together. Lipkins recorded the album in his Long Island home and Hare designed the artwork.
Monera sells their album digitally and physically through their website (www.myspace.com/moneramusic), as well as at their performances for $5.They have performed at venues in both New York and Boston and plan to continue performing and writing music together.

MySpace
Buy it

Bossk - .1

Artist: Bossk
Album: .1
Label: QnotQ
Year: 2006








Tracklist:
01. I
02. II

Download
pass: lateralnoise.blogspot.com

First impressions are everything they say. Bossk supplies an interesting piece of music for their own. First, you must realize that this EP has only two songs, each more than fifteen minutes in length, and are titled in a most clever fashion “I” and “II”. Obviously, these will be meandering sorts of songs, and ultimately its important to realize not only where the song is headed, but where it has been as well.

The first song “I” is 16:08 in length, and starts in a fashion those familiar with Godspeed You, Black Emperor! will be familiar with. Droning noises appear first, painting a rather somber soundscape. Next the drums appear, softly creeping in with the cymbal and then guitar with distortion builds into the meat of the endeavor. This all occurs at a pace quicker than that of GYBE!, with the true heart of the song revealed much sooner.

The song overall feels like a slow motion liftoff, each section firing in stages. After about four minutes of build, the song really kicks in and begins to meander a bit. It quickly comes back, stronger and more intense. Finally, the power chords begin and the bass and drums begin to get heavy. The character from before is gone, and now it chugs along. At some points, this heaviness feels a bit unwelcome, as if it were forced upon the listener. Some may enjoy such a change, but I found it to be a bit abrupt and overall a bit forceful. It is important to note the instrumentation remains solid throughout, and the transitions are smooth. However, unlike some of the stronger presences present in the postrock world (i.e. Explosions in the Sky), the overall build and structure of the song seem to trail off as one gets deeper into the song. Eventually “I” comes full circle, ending with a familiar yet strange arrangement similar to something previously heard in the song.

“II” is decidedly heavier than “I”. It starts with some curious notes on the guitar, leading into accompanying bass and a second guitar. More importantly, the song seems to have a more clear direction than the first, and lays its groundwork well. What is so brilliant about it is the result of this soothing intro. The segue into the rest of the piece is both subtle and with purpose. Unlike “I”, the heavier sections of the song are most welcome, perhaps because the music leading up to it prepared the listener for the menace that lay ahead. The riffs are deliberate and sound not unlike a slower metal band. About 2/3s through the song, a growl appears. The words are indistinct. I am not sure whether or not they actually matter. In my eyes, they serve to further create a sense of atmosphere, almost evoking a sense of dread. Ultimately, the EP ends the way it began, with droning noises appearing and instruments slowly falling from the scope of sound.

While I do enjoy longer songs, these tend to push the feasible limit of length. The songs are interesting, but little grabbed me except for the middle of “II” forward. In the end, I got what I usually get out of good EPs: the band in question has a lot of potential and are moving in an promising direction, but it’s missing something essential. Bossk is no doubt good and as they mature they may deliver with something truly amazing. But for now, they may get lost amongst the other fish in the postrock ocean. - by Travis (invisionfree.com)

MySpace
Buy it

Gardenbox - Gardenbox

Artist: Gardenbox
Album: Gardenbox
Label: Poeta Negra
Year: 2003








Tracklist:
01. Inexpensive Ways To Fly
02. Gravity
03. Another One And You're Finished
04. Sick of Everything
05. I Need A Map
06. You Can't Hurt It
07. Yes, We're Alive, Shouldn't We?
08. The Grief of Sadness
09. Let Op Afstap
10. For Everyone
11. I'm In The Dark Here
12. Chokin'

Download
Download part2
pass: lateralnoise.blogspot.com


GardenBox started off in late 1998. Since then they've been creating and recording their music in their own studio, pursuing an orbit of constant development. With a background of a few individual productions on limited edition, they proceeded with their first official release in 2003 (PN22CD, "GardenBox", Poeta Negra Records). Now, having just released "The Last Resort" (VEIN002, Venerate Industries) their second official release, the band is gathering momentum for a series of live shows. At the same time, and following a brake of two weeks (sic), they have started working on new material.

GardenBox's music aims at illustrating the sound of contemporary cityscapes. Through an alternation of electronic and electric sound as the leading vehicle, they attempt to outline the conditions of urban life.

With their resonating allusions to current trends of electronica and post rock, they create a sound idiom that is individual, prolific and tence. The compositions are vigorously intreaguing, featuring drastic transitions and peaks. Their structure is at times dominated by layers of electronic sounds and beats, at others by the circular unfolding of melodic passages on guitar.

Official site
MySpace
Buy it

Zodiak - Sermons

Artist: Zodiak
Album: Sermons
Label: Translation Loss
Year: 2008








Tracklist:
01. Excavate
02. Sermons
03. Etc
04. Wouldn't Wait
05. Their God Reigns
06. Zeros and Ones
07. Outlined
08. Untitled

Download
pass: lateralnoise.blogspot.com

There's not really much I can think of to say to introduce Zodiak, so I'll let them do it. Their press release compares them to Tool, Massive Attack, Pink Floyd, and Failure, among others (those are the ones I think are the best comparisons). The album was put together out of mostly improvised jams, but, according to the band's MySpace, came out more structured than initially planned. They're also set to appear on a Syd Barrett tribute compilation coming out on Dwell Records, entitled Like Black Holes in the Sky, contributing a cover of the Pink Floyd single, “See Emily Play.” Translation Loss Records will be releasing their debut album, Sermons, on May 13^th.
The album opener, “Excavate” opens the album with a song that combines the more melodic side of Tool with Isis-style “loud” parts. This is all pretty standard, but the track ends on a weird, spacey note, which brings it nicely to the title track, “Sermons,” which shows more of a Pink Floyd influence (Pink Floyd if a guy who sounded a little bit like Maynard James Keenan was doing the vocals). The guitars are drowned in effects, one with what sounds like possibly a space echo, and the other with tons of sustain. There's a pretty cool, kinda Floydian guitar solo in there, and it's all tied together quite nicely. It ends on a drone that abruptly cuts off.
The next track, “Etc.” sounds like exactly what its name implies. Like something they had no idea where to place on the album, or whether or not they should incorporate it into a song. Which is not to say it's all bad. It carries on the spacey vibe of “Sermons,” but it sounds like kind of an afterthought.
“Wouldn't Wait” is more of a rock song with heavy guitars and a nice reverb effect on the vocals. It's kind of cool, but doesn't seem to go much of anywhere. Not one of the album's stronger tracks, but not bad.
“Their God Reigns,” on the other hand, builds from a spacey drone to something that sounds like the bastard child of Isis and Pink Floyd, with the droning space rock weirdness laced between heavier sections with an awesome “pissed-off, wounded animal” quality to the vocals. This is capped off by another instrumental, “Zeroes and Ones,” which brings that space rock vibe back into the picture.
The next track, “Outlined,” mixes metal riffing with reverb-drenched verses. The result sounds a lot like Tool with a slightly different melodic sensibility, and ends with another droned-out space rock part.
The closer, “Untitled,” is surprisingly short. To be honest, this is the kind of band I would figure would end on a really epic space jam or something. Instead, it's more of a straight-ahead, rock instrumental that ends in about thirty seconds of drone.
I would say this is a pretty promising debut, despite its flaws. I'd recommend this for fans of Isis or Old Man Gloom, and, of course, for fans of Tool. This is a pretty solid effort at bringing the progressive rock of today back together with more classic progressive sounds. I'll look forward to hearing what these guys are doing in the future.-W♥M (weheartmusic.vox.com)

Official site
MySpace
Buy it

Hen:ge - Stationery/Crater EP

Artist: Hen:ge
Album: Stationery/Crater EP
Label: Close Nerd Recordings
Year: 2008







Tracklist:
01. Stationery
02. The Way To Enclosure
03. Crater
04. Untitled

Download
No password for this one!


Story:

Hen:ge is a three men group from Regensburg, Germany. Björn Schmitz and Tobias Zenger (Silent Duel) who both play in the band fire walk with me! and are members in the close nerd collective had the idea of moving some steps back to explore some more experimental droning and slower soundscapes. The original idea was making music just for personal catharsis. At that time they met Matthias Menath who had also the idea of creating hush. Finally they invested two hours for recording the Stationary / Crater EP.

Description:

Hen:ge's music can be described as movements of slow rhythms surrounded by hounting walls of guitar and explosive escapes into the static or even the epic. It shows a landscape of sound in which the atmosphere is mostly dark, lost and less plastic than vivid.

Stationary / Crater EP (Concept):

A lot which is neither worthy to live nor to die for. Proud men built it all up with their own perspiration. Now the people don't have the right any more to just close their eyes and let the tyrants do whatever they like. It's time for them to unite. The way to the enclosure must be paved. Don't be that foolish to confide in anyone blindly. No tyrants, no tears, not even a dust particle will outlive our nature. But on the horizon beyond the majestic mountains of dust beyond our own lies lays the visage of our own nightmares. The last bridge between desperation and aspiration. Deep under the sprawled ruins of ancient times, under the aspirations which were buried there in older days lurks arcane animosity which will resist the devastation. It draws the pain of the world to concentrate it like a magnet. Just like children they will grimly judge one below the other without any meaning of right and wrong till they recognize that in a final step the nature is above all things and everything they prayed for and wanted to die for... the lot is turning and... ...is now just a scar in the earth.

MySpace

The Seven Mile Journey - The Metamorphosis Project

Artist: The Seven Mile Journey
Album: The Metamorphosis Project
Label: Fonogram
Year: 2008






Tracklist:
01. Theme for the Elthenbury Massacre
02. The Catharsis Session
03. Identity Journals (anonymous)
04. January 4th - The Hypothesis Hour
05. A Sanctuary for Lugubrious Tracy
06. Purification - The Journey Transc

Download
Download part2
pass: lateralnoise.blogspot.com

Operating under the post-rock banner, The Seven Mile Journey's The Metamorphosis Project offers an hour of sparse and atmospheric soundscapes. It is the group's second release for Denmark's Fonogram Agency, and is released in the United States on Pumpkin Seeds in the Sand. The design is minimal yet eye-catching, with a white logo stamped in the corner of a glossy black digipak. Varying only in color, the art is identical to their previous releases. It's almost as if the band wants the music to speak for itself...

Opening track "Theme for the Elthenbury Massacre" offers little in terms of variety, using droning guitars that maintain a bleak aura. It's similar to many Explosions in the Sky songs before they crescendo and, frankly, that monotony makes it rather boring; it's the auditory equivalent of driving through the plains for hours on end. You might come across an occasional hill or curve, but it's basically a lot of the same thing. After fifteen minutes and two tracks, the album starts to pick up.

On "Identity Journals (Anonymous)," the group incorporates more energy, varying the tempo and offering a melody to counter the record's dreary start. For my tastes the melody is essential. Despite any traditionalist arguments one might make for the post-rock genre, the hint of catchiness keeps me interested. The guitars are utilized to drive a melody that overlays the earlier drone - shifting the tone from banal to foreboding and eventually optimistic. It's effective without being flashy. The next two songs incorporate a mild crescendo, subtler than their aforementioned Austin contemporaries, with a melody weaving in between the atmospheric, tone-setting drone and an emotional rise. After approximately twenty minutes of teetering on catchiness, the band briefly transitions between the earlier abyss and back to a gloomy crescendo in tune with the middle of the record on the closing "Purification - The Journey Transcriptions."

The Metamorphosis Project is parallel in structure to a screenplay: the six tracks can be broken into two-song "acts" conveying an emotional setup, change of outlook, and climax. The rise and fall are alternately intriguing, mildly catchy, and climatic. It's a solid album with emotional heights but, unfortunately, the record just takes too long to get going before its all-too-brief peak. It's an epic crescendo structure without enough epic. The record is solid but unexceptional. I would not recommend it for anything more than atmospheric background or enthusiasts of the genre.-Loren (scenepointblank.com)

Official site
MySpace
Buy it

2 By Bukowski - What a Long, Strange Journey This Has Been

Artist: 2 By Bukowski
Album: What a Long, Strange Journey This Has Been
Label: Poeta Negra
Year: 2001







Tracklist:
01. Buckle Up Scully, I Believe Chuck Here Is About To Take Us On A Ride To The Abnormal
02. It's Time To Hybernate
03. Zagadka
04. 8 Steps Of The Crane And The Snake
05. Burn Witch, The Sorceress
06. Solution - Sarrus

Download
pass: lateralnoise.blogspot.com


Following the release of their first two mini attempts, 2 By Bukowski present their first complete voyage that certainly gives the feeling of a concrete work.
Through their flow, the compositions complete one another, forming a kind of narrative puzzle that describes blurred images and intervals of a journey that unites sensitivity and logic, nostalgia and vision, peace and eruption.
Using predominantly electronic instruments, 2 By Bukowski succeed in creating a personal sound and identity. Moving beyond the limits set by the post rock tag, they do not express the need to be classified under a specific musical scene.
From their first steps, they've already gained recognition from press and radio connoisseurs. From the triumphs of Brainwashed, to the presentation from Norman Records as the European answer to Godspeed You! Black Emperor and the designation of their 7' as single of the month by Record Collector, 2 By Bukowski seem to win the esteem of a growing audience all around the world. (poetanegra.com)


Official site
MySpace
Buy it

Followed By Ghosts - The Entire City Was Silent

Artist: Followed By Ghosts
Album: The Entire City Was Silent
Label: self released
Year: 2008







Tracklist:
01. Hymn Of Twilight
02. A Mirthful Experience
03. Clear Blue Sky
04. Manifest Destiny
05. City Of Noise
06. A New Dawn
07. The Entire City Was Silent

Download
pass: lateralnoise.blogspot.com


I am a firm believer that no great art was borne of happiness, I don’t how or why I came to this conclusion – it’s just something I feel. Which leads me to quote something once said by some mug in Hamlet - "When sorrows come, they come not single spies, but in battalions". Followed By Ghosts from Waverly, Iowa have encapsulated the sound of that battalion approaching from over a grassy knoll, with a skyline breached by banners and spearheads.
They come in the name of the fallen, with a force ten fold, kicking in the door of heaven. Not as musicians, but as disciples of something otherworldly sent to initiate the masses, dancing on the very grave of life itself before it’s even dead. Their latest endeavor, The Entire City Was Silent, is a behemoth, a leviathan of fuzz and drizzled feedback, and majestic like slow motion tape-breaker footage from a city marathon, the Angel Falls, or a battlefield sky victorious. It swells with emotion in places with a musical scope that ranges from the quietly subtle to bombastic bravado, with a pervading taste of sweet melancholy ever-present, like pride and nobility in the face of impending doom. It is a soundtrack for when underdogs become kings, anthems for the lost, saves-the-day-gets-the-girl music, and songs for watching comets to; the list is endless but all within it encompass that surging blissful feeling of hope, the physician of all misery.
To be perfectly honest, I don’t know where to start as there are so many endearing attributes to highlight. Initially lulled into a false sense of security by “Hymn Of Twilight,” I’m rendered speechless by “A Mirthful Experience” with distortion like Teslas’ earthquake machine. It freezes my heart like liquid nitrogen and smashes it into a million crystalline pieces. Clocking in at over nine minutes, “Clear Blue Sky” offers a reprieve of sorts until a sense of urgency kicks in. A paroxysm of emotion ensues in a slowly building crescendo which peaks with a ferociousness that could tear the very fabric of reality itself. Regardless of its gargantuan timescale, it’s by no means boring and probably one of the best tracks on the album. It breaks at the five minute mark in what initially sounds like a solitary E-Bowed guitar that is hauntingly beautiful and gives the piece a whole new dimension and direction. A fixed fulcrum from which the album revolves around – impeccably consistent and completely breathtaking stuff. Behold, the Illuminati.
Each track bears its own idiosyncratic qualities and character, as if obsessed over like a musical Frankenstein which has slowly been brought to life in accordance to the prophecies. “City Of Noise” is the slightly introspective twin of “Clear Blue Sky,” also swallowing whole another nine minutes but leaves us yearning more. Time appears unrestrictive with no detail spared from the brief to the seemingly endless and epic. The awkward, yet captivating piano of “A New Dawn” gives way to tremulous guitar, like the first shimmering rays of light. There’s a sense of something growing or coming to life – a sense of becoming culminating with delicious feedback and fuzz that heralds the climax. A fitting, piano-centric closer that leaves a sweet aftertaste and promises the advent of amazing things is found within “The Entire City Was Silent.” Falling somewhere between 65daysofstatic’s “Radio Protector” & “Furnace” by Troubles, it incites a desire within me to start from the top and play everything right through once more for posterity. If FBG maintain this momentum a few cities will fall silent to there resounding knell I’ll wager – I for one will answer the call.
A maturity exists that belies their collective experience, with an amazing sense of individual awareness within the band – never overstepping or overcrowding each other in sound. They allow each the necessary space to shine, and shine they do, like a carbon arc searchlight. Symbiotic guitars weave smoothly executed melodies, metallic shimmerings that swell to blistering crescendos. Littered with start-stop syncopation and percussion that marches into the ether, FBG is somewhat reminiscent to they whose name I dare not speak in these parts, you know who I'm talking about. With masterful instrumental pieces of oscillating fretwork and crisp percussion, The Entire City Fell Silent is an intricate and transcendental collection of music that is as rare as a Dodo sighting.
This is majestic post-rock, brooding, apocalyptic, and yet often delicate, peppered with subtle changes and melodic nuances that steal the very breath. The album title itself suggests imagery of a populous place lain to waste by some fantastical force that dwarfs Hiroshima, or a burning cross perhaps suspended in an anthracite sky raining tongues of fire on a day of final judgment. Everything works cohesively, songs titles, artwork, band name and musicianship. Imaginative, inventive, ambitious and all beautifully interweaved into a Technicolor soundscape. Like a moth to a lightbulb, I’m suspended in the blinding brilliance - trance-like, a devotee.
I offer a quip pilfered from Hunter S Thompson as a final note - "The music business is a cruel and shallow money trench, a long plastic hallway where thieves and pimps run free, and good men die like dogs" - Blatantly misquoted and molded with reckless abandon, but nonetheless a fitting statement. That these guys are not already signed is an absolute heresy, I feel like setting fire to myself in protest, while sitting cross-legged with my eyes closed. A cracking album, I can't recommend it enough. -by James Crossan (thesilentballet.com)


Official site
MySpace
Buy it