Alex Spalding – I’m Going to Die // NMMREM XX

Listening Alex Spalding’s newest effort I’m Going to Die based on his previous solo album Amos in Flames, may come as shock. The gentle electronics of Amos in Flames are gone and as a replacement, we have vast, heavy industrial. The sound doesn’t have a pinch of humanism in it. It is more reminiscent of deteriorated buildings rising from a deserted Soviet town. Harsh electro assault with some noise elements, dark beats, lots of dynamics and occasional melodies. I dig!

The beginning of the album is such a middle finger, Driver is a suitable intro with its harsh electronics but second track I’m Going To Die seems to be the real driver there, as it for sure will drive a lot of listeners away. The third track Re-program is what really starts the album. Judging by the trackname even the artist seems to be aware of that. In the half-way of the song the harsh beat and beeping suddenly halt to an ingenious noise-assault break which leads to an evil groove straight from the top. If you turn death metal riffs into electronic beats, this is what it could sound like.

Another notable track follows soon. Ugly with its more multidimensional evil groove. My favourite of the album. Very Alex Spalding-like a few very short, ok fillups Ender and Samäel balance the way to Bizzy In The Mix. An almost 6 minute track. It holds its ground remarkably well, shifting enough to stay interesting. Surprisingly enticing, or like my girlfriend blurted while wandering in the room: “sounds like robots having sex”. The strong middle album is completed with Gridlock, its most notable feature; a brilliant groovebassline!

I needed some pictures to spice up the review

so here’s a diagram about the best times

to listen Alex Spalding’s I’m going to die

After Gridlock the quality doesn’t go down notably, perhaps it is surroundings which become familiar as most of the rest float through without boring and without boring itself in memory. Except, goodness on the 10th track, Robotics, and the centerpiece of the album (more like fuck-you-piece) I’m Going To Die (Full Version). Not bad for a 23 MINUTE NOISE TRACK, but I cannot see how a 23 MINUTE NOISE TRACK wouldn’t be skipped when I’m enjoying my industrial.

The sound, and the beats are enjoyable, but the problem is, it continues all album long. The album would love a bit more variation, like the organic bass line of Gridlock, or eardrum busting à la Re-Program. Not surprisingly the best tracks come from the beginning.

If you are into dancing in factory halls with your gasmask on, while stabbing cybergoths in the face; this is your stuff. Or if you’d like to hear how close to Metal electronic music can be, try it out. The industrial metallish tinge brings in mind the degradiation of Eastern block at its worst. Decline is beautiful. I heard in Ukraine there is a festival in an old Nuclear power plant. Maybe someone should book Alex Spalding?

7½/10

A Free download album as always: http://archive.org/details/SPNet076-AlexSpalding-ImGoingToDie (only 56 downloads are you kidding me?)

Track-by-track

1. Driver

Beatwork seems to be just emerging, a fitting sound for an intro. Thematically brings in mind Kanellos’ In A Breath (http://archive.org/details/Siro584Kanellos-DestroyMusic; to be reviewed soon). Like the beat is behind something taking the top out of it.

2. I’m Going To Die (LP Version)

Short enough to listen, still skipping it half of the time but it also provides a giggle now and then.

3. Re-program:

First it is catchy, then it busts your eardrums with noise, you may feel angriness rising up, but it is very shortly turned into aggressive euphoria as the next beat is even catchier. The beat switch with a noise-assault break in between is ingenious.

4. Ender

A good progress to a beat and a melody, but simply worse than Re-Program and Ugly.

5. Ugly:

Multidimensional evil groove explodes near one minute marker to a 3D headphone experience.

6. Samäel

A Random idea thrown in the midst.

7. Bizzy In The Mix

Robots having sex.

8. Gridlock

Bores in the beginning but then a groove bass bores itself in. Through all industrial layers it sounds absolutely wonderful to hear some organic-like instruments.

9. Stabbing Death

Very odd, Alex Spalding’s fetish for noise is apparent on this one. Lots of heavy steelwork.

10. Robotics

A robotic noisevoice seems to repeat my first name!?! Possibly for this, Robotics takes its place on the top of the album.

11. Gauge

Very beat oriented. Beat as a main drive and melody. I feel the beat is a bit alone, it might fancy a helping hand. Still works and surprises await.

12. Rotting

Great flow from Gauge, its aborted little brother.

13. Alex Spalding – I’m Going To Die (Full Version)

The centerpiece of the album. 23 minutes of noise, more like fuck-you-piece. I sat through it once, was entertained, annoyed and laughed. Good times. Never again. Funnily in this noise track there is a catch! A repeating “chorus” sort of! Voice repeating “I’m going tooo diiiiieee” at probably 50 times during the length of the track. I find myself trying to sing along with it but the voice cuts of abruptly half the time. Works well listened a few minutes at a time randomly.

14. Colder Than You

Ambience, steel girder tamping while grand factorylines mechanically move on… Over 5 minutes but I never have any hurry in skipping it. On the other hand I can never recall what happened in it either.

Glanko – Telekommand EP // NMMREM XIX

Glanko, classified as IDM (short for intelligent dance music) did not gain my interest with the genre title. I very rarely enjoy dance music. With the track 9003 (/w mote) on my Facebook wall by Pollux I thought I need to give it a listen. Boy was I surprised; 9003 sounds like it is from a movie, assessing melancholic violins and orchestrations in a mellow ambient and rather organic atmosphere. A thrilling neoclassical track, but nothing like the rest of the album.

Purely electronics driven; first half of constantly glitching; wonderously mystical Maikurofomu CC walks a tightrope and slips off balance only to regain it with a somersault.

Second track Telekommand A has probably the best hook of the album, with the bass line at 2.50, peaking already at 2.55 to the sudden glitching bassdrop. Many times have I found myself humming this bassline, along with the bassdrop after listening this EP. It is a shame, in reality the best hook of the album, is never repeated. But the strong bassline stays there for quite a while and mildly changes form constantly. As if there is one thing that Glanko’s Telekommand lacks it is memorable melodies and hooks. Telekommand is a very enticing entity but it doesn’t have jaw-droppers except a few individual moments and the fourth track, 9003 (w/ Mote). When 9003 (w/ Mote) is pure 10/10 material the rest of the album fades into 8/10 territory.

It doesn’t mean it is not a strong very original entity with a high base level. The mystical atmosphere stays intact; melodies and mixtures of sounds I’ve never heard anywhere else. There are a lot of stuff happening beyond the surface. Kudos to the artist for not overpeaking the tracks and allowing an extreme volumedose!

9-/10

Free Download: http://archive.org/details/siro570Glanko-TelekommandEp

Great Music Videos – Fall 2012 – A Forest of Stars, Swallow The Sun, Agalloch

Something different for a change. Music videos and fan videos that I have enjoyed lately.

A Forest of Stars – Gatherer of the Pure (official music video) (61 000 views)

At the risk of sounding like a fanboy, I will still label this as the best music video I have ever seen. It was released in June 2012 and made an intense impact. In fact with the second view. The first was stunning but after the second view I had time to focus on the other aspects besides the plot and music. Since then I must have rewatched it over 20 times.

The video is very game-like reminding of the beginning of a masterful game, Braid. It also has a Limbo-like dark colour and character scheme. But still does it uniquely that its clear its not a rip off of any single influence. The track Gatherer of Pure is a good one. First time ever, when listening the track from the cd; I actually wish I was watching the music video instead. Without the music video the track just isn’t complete. It even works to that extent that for a lyrics freak like me, the lyrics of track are just a minor point. The most important point is the balance of the dramatic composition and dramatic events in the video which are very well adapted together.

The graphic illustrations are of course nothing short of stunning with absolutely beautiful shots from an imaginary place. The clever use of yellow and black and white colour scheme with at times sparked with red, blue and other effectcolours is a remarkable effect. After the video looks like just a misshapen love story, do not miss the end. It is such a distorted piece of plot-twists that will blow you away.

Swallow the Sun – Emerald Forest And The Blackbird (Unofficial Video) (4800 views)

In fact, it is a fan video of clicheic forest photography. But, the photography is so stunning that it doesn’t bother at all. Absolutely beautiful forest shots encompassed with one of the best songs of 2011. A stunning view that takes you away for a wintery forest walk in Finland. Very topical as the winter is coming…


Agalloch – The Sowilo Rune (“The Sowilo Man” fan video) (2300 views)

A fan video, named “The Sowilo Man” is of course a take on the events from the move The Wicker Man (1973). One of my all time favourite movies. Taken from The White EP that encompasses a lot of elements and voice clips from the movie. For everyone who loves the film; this video is a welcome revisit to the lovely looking, beautiful yet in the end dark schemes of the movie.

And a word of advise for everyone not familiar with the original Wicker Man. Do not watch the Nicholas Cage version (2006). Find the classic Wicker Man of 1973 or better yet, the extended edit. It has lots of great scenes that were cut out of the theatrical version without the agreement of the film creators. Some of these parts are in this video as well.

Sergeant Howie: “And what of the true God? To whose glory churches and monasteries have been built on these islands for generations past? Now shall what of Him?”

Lord Summerisle: “Oh, He’s dead. He can’t complain. He had his chance and in modern parlance. Blew it.”

Once Were Ghosts – Transient Silence // NMMREM XVIII

 

Cover_thumb

Once Were Ghosts is a post-rock project originating from Las Vegas. When Las Vegas always brings in the image of flashing lights extravaganza, constant motion and hectic surroundings, Once Were Ghosts might be placed in this abstract moment when the city sleeps. Suitably Transient Silence clocks only a pinch under 7 minutes, the short wander you can make in deserted alleyways seeing shut down light signs, before everything bursts to flame again.

Transient Silence is driven by beautifully crafted guitar melodies setting the atmosphere high immediately. Imagine those November nights when it is raining, windy and cold outside and you are warm inside under the linen covers sipping warm blackberry juice and reading a book. The guitar melodies are accompanied by a drum machine which is a bit over the top, drums being a lot faster and technical than the guitars. Drums still manage to sound good but no doubt they aren’t the perfect par for the stunning guitar lines.

The shortness of Transient Silence is also a charm as it is easy to listen 2 or 3 times. Especially the first 2 tracks are top notch melancholic post rock, bringing in mind the strongest outputs of Escape The Day and This Empty Flow. In only 7 minutes it is hard to give yourself up to a complete flow as you know the fun is not going to last for long, but nearly every time Once Were Ghosts takes me over on the very first notes. Give this one a try, it is one of the best 7 minutes you’ll spend.

Lauren Bousfield – Locked Into Phantasy // NMMREM XVII

One of the releases I’ve been most anticipating this year is here, Lauren Bousfield’s Locked Into Phantasy, actually released in 2012. I expected it to come with the name Nero’s Day At Disneyland, thus the delay. Peculiarly former Mr. Brock Bousfield of Nero’s Day At Disneyland seems to have, err. found something within and is now Lauren Bousfield.

Taking away that Lauren is a multisex name, Locked Into Phantasy still sounds very feminine. It also sounds more “artistic” than Bousfields’ previous releases and features a lot of female vocals. Last.fm user CupOfSquirrels put it best in last.fm “it (Nero’s Day At Disneyland) ultimately felt like a guy pissing about on a synth”. I usually try to stay as far as possible from Urolagnia, but I personally loved the way Nero’s Day At Disneyland “pisses about on a synth”.

Bousfield has moved on to a logical direction and further lessened the breakcore elements on this album. “Locked Into Phantasy” is mainly just odd electronic indie pop. Melodies are similar to old releases of Nero, but where is the beat! I do not feel the kick I get from Nero’s Day at Disneyland, lots of the fun is missing, even the slight melancholia is often lackluster. The release feels more plastic. I reckon it is still alright, if you happen to like indie pop. I usually don’t.

Putting my listen count above 10 I finally grasped the wood from the trees. Most tracks have about half of material that I like and half that I do not, which takes the mat under the whole track. Good example being Pulling Down Never. The intro vocals take badly on my nerves, then all the sudden we get a mindblowing chorus. It develops to a bridge, that seems to lack a bit of beat but is still solid. Then back to nervewrenching wailing. Sum up: fucking annoying verse; all the rest great.

The record is definitely not without goodness. The title track is just wonderful; and it does sound exactly like Nero’s Day at Disneyland. Also thumbs up also to Seraphim Sliding Backwards that really is a simple track with some melodic goodness. Still took over 5 times to open up for me. It contains only mildly annoying elements.

I would enjoy this release a lot more without the vocals. It is a similar situation than with Nero’s Day At Disneyland’s first album “Attention Shoppers”. It contains mostly terrible vocals but its overall craziness makes the bad vocals up a lot better than the artistic tinge on “Locked Into Phantasy”.

I hope 10 years from now this EP is thought as a misstep or an experiment which wasn’t complete yet, but helped to fruition a new style for Bousfield. I appreciate that it was released under a different pseudonym, the pieces are very familiar, but they form a new sound.

6+/10

The artist shared a mediafire link to freely download the release on his facebook page! http://www.facebook.com/laurenbousfieldanyever/posts/348796375218823

If you feel like paying it is also available in bandcamp for rather cheap 7$ price: http://laurenbousfieldanyev3r.bandcamp.com/album/locked-into-phantasy

I would recommend that you rather grab his earlier release, one of my all time electronic music favourites, 7 $ is a steal: http://laurenbousfieldanyev3r.bandcamp.com/album/from-rotting-fantasylands

Track-by-track:

1. The Ropes Our Nights Were Laid Across, Pulled Taut

Good intro, its already evident that the percussions are in a smaller role than with Nero. Still solid.

8-/10

2. Seraphim Sliding Backwards

I do not understand how it took me over 5 listens to realize it is a great track. The female/child vocals are a lot less annoying here than in other tracks. The 0.31 starting melody is one of the top points of the album.

8½/10

3. Pulling Down Never

Here the downfall begins, the intro vocals take on my nerves then all the sudden we get a mindblowing chorus bridge, that seems to lack a bit of beat but still solid. Then back to nervewrenching wailing. Sum up: fucking annoying verse; all the rest great.

6/10

4. That Was Everything That I Owned

Glad you do not own it anymore, now kill it before it rises. I am glad that the abomination that laments in the intro does not resurface and the vocals develop near the best that this album has. Still, they are sub-par, and the track balances on the edge of skippable. Piano melody is unarguably good.

4½/10

5. Locked Into Phantasy

Among the very best Bousfield tracks of all time. Only Lauren Bousfield track I plan to regularly play to my friends (among with big bunch of Nero’s tracks). Probably Bousfield’s most accessible and catchy track together with “Child Protective Service Theme Song”.

10/10

6. A Tiny Streak Of Daylight (with Judy Balmin)

Only track I skip instantly. Makes me want to murder hipsters.

1/10

7. Two Swans Duct Taped To The Side Of The Coke Machine

First 40 seconds promises we may have a great one coming up, then on comes this backwards childvoice. I can’t stand it.

6/10

8. Blown Blooms

Extremely memorable intro, alright bridge. Then another wailing chorus; unfortunately this disappointing turn of events is continued furthermore on a large portion of the track. The glitchy piano outro would surely be lovely if my mind wasn’t still dampened by the chorus.

6/10

Synestesia – Nereus // NMMREM XVI

Synestesia is a Finnish melodic death metal band that was formed in 2001 and has been a long time coming but failed to break in to the surface. The predecessor of Nereus, Feenix was very well acclaimed critically, but it seems the band still stayed under. Alike Feenix, Nereus is a self-published free download album (that was also released in a small batch of cds). Immediately after tuning in, Nereus captivates with the amount of professionality. It is apparent that the band really know what they doing and have created an impressive and professional sounds for the record.

The first track Alku begins with a foghorn humming and the sounds of seagulls. Atmospheric ambient, then a piano melody. A great clicheic intro track with a notable melody. But just right. The next track Juurelle majakan did take multiple listens to open up. On first it passed me by nearly completely. Later it elevated as among my favourite tracks of the album. A very catchy chorus with a wonderfully epic background choir, melodic riff. I could imagine hearing this from the radio? Vocals are extremely raspy and the first glimpse of the rather wide growling range the vocalist has. I really dig that the lyrics can usually be imposed from the vocals without the need of reading them.

The next track Valo is a solid track with nice melodic riffing and raspy vocal goodness, but is a step down from Juurelle Majakan. It starts a quick downfall that continues with the title track Nereus and peaks in the 5th track “Murha?”. Murha? is probably the most experimental track of the record with a chugging riff and spoken vocals posing as an official announcement. The structure is interesting, but not captivating; the lyrics also bother me as they are not too interesting and quite clumsy.

The next track 274 askelmaa covers the downfall well. The lyrics are obscure as hell, I do not know what are these 274 steps and how they relate to anything but the song has a big emotion and atmosphere going on. Death/doom composition with an emotional quality and progressive touches makes this a clear highlight along with Juurelle Majakan. Also I do not know how Synestesia manages to pull it off but the emotional death/doom track finishes up with a memorable 70s progressive rock keyboard jam!

The album finds another low point with Hiljaisuus, which might actually work better for a listener not native Finnish as the lyrics are clicheic as fuck. The composition really has potential but repeating “niin kaunis on hiljaisuus” on and on again just takes the mat under this song.

Rest of the album isn’t that memorable in a good way or bad but solid 7/10 death metal with its minor peaks and low-points. Peaks include for example the raspy vocal performance of the vocalist, groovy riff of Kone pysähtyy and the end of Kuolleiden Kulkue which has another doom/death riff topped by piano and finally epic female vocals. It serves as a great outro for the album. It also brings in the question, what if Synestesia really made just Doom influenced metal in this style that they so well incorporate in small sections?

I believe the record may actually work better if you don’t get the lyrics as for me they aren’t that special and that is the biggest problem of the album. When listening in your native language; lyrics usually have to impress, but in Nereus they are rather obscure. It is supposed to be a concept album but even with reading the lyrics once, checking their internet site with some great thematic art (http://nereusprojekti.net/), and trying to think of the concept, it remains obscure. Maybe Valo and Nereus are some sort of propaganda tracks of the Nereus nation? Meaning the emotions are clicheic on purpose?

As a whole Nereus fails to captivate this picky listener, who nowadays mostly finds melodic death metal rather bland. There is no questioning however that Nereus has lots of diverse elements and originality and it does keep the listener entertained, especially on first listens.

For a listener who is really into melodic death metal or for the “Finnish Sakara-generation” this album can be a very good experience, but I doubt Synestesia reaches the front-line of Finnish metal bands with this effort. It is melodic, raspy, heavy, diverse but in total hard to grasp and lacking much of the high points. But it is a good try, keeping this quality Synestesia would surely had continued to grow and slowly find bigger audiences. Unfortunately in the December 2012 the band announced its breakup. It is a shame as this sort of hard-hitting metal would surely strike home way better in a smoky club after a few beers.

7+/10

Download the album for free: http://nereusprojekti.net/

The Amoeba / Boris Clitoris

This triple issue deals with three free download EP’S. The Amoeba – Gayest Shits (2009), Boris Clitoris Swastikat – Swastikore (2010), Boris Clitoris – Boris

Clitoris (2012). Even with two different artist names the releases are in fact from the same artist and with the same style.

All of these albums are free downloads and good ones too. In total the three EP’s combined clock just under 24 very entertaining minutes. A summary of the genres in the albums could be melodic breakcore comic metal lounge mashup. It’s probably easier to just compare it straight out to Nero’s Day At Disneyland but with some metal and psychedelic comics thrown in.

The first EP, Gayest shits feels like more effort was given to it than the latter ones. It sounds to have the biggest number of layers and versatility. It is also heaviest of the three, Boris Clitoris has seemingly developed its sound towards more melodic and minimalistic output. Funnily, even though the music sounds more minimalistic, on the newest release the melodies are possibly more complicated than before. Just take the bass line of Difficult Listening or the god-knows what instrument driven melodics of Hyena Clitoris from the S/T EP.

What separates Boris Clitoris from many electronic artists is the sheer quality and variety of
melodies. There are for example 8-bit melodies (super nerd, Comic Sans), heavy melodic riffs (evil satan!, I’m An Alligator), odd distorted melodies (Swastikat, Mooie Man), some sort of progressive lounge (?) (Hyena clitoris, Difficult Listening), overly happy melodies with sound clips (Yellow is the color of the sun, Organ Grinder). Each song has a vibe of being an unique successful experiment, though every EP has the sort of trademark heavy tracks and overly melodic tracks. But the tracks are full of surprises, the heavy as shit riff may be suddenly entwined with a melody straight out of kindergarden, and as well the child’s play may have a distorted ear-bleeding-beat. Or even the occasional noisewall. You never know whats in store, and that makes the experience immensely entertaining.
If I have to nitpick on something it would be the volume levels, through all albums the tracks have different volume levels, meaning the listener has to keep adjusting the volumes. Given the versatility of tracks it is no wonder that there are glitches like this. Also, maybe its the nostalgia-syndrome, but the output of Amoeba / Boris Clitoris has goon slightly downhill with every new release. While i’d rank Gayest shits near 10, Swastikat Swastikore is probably just under 9 and the self-titled a solid 8.

If you are into Venetian Snares or Nero’s Day At Disneyland The Amoeba / Boris Clitoris is for you. And if you happen to like metal as well, all the better.

I could say all of the above all just summarize all in Boris Clitoris’s words “Fucked up, epileptic, retarded, spastic, childish, bedroom produced, free to download music.”

Free Downloads:

Boris Clitors – Boris Clitoris (free download when you name your price to 0, I didn’t)

Music Video of Mevrouw van Iersel:

Pollux – My Beautiful Melancholia // NMMREM XV

It took a while to find another Pollux album I really like after the brilliant Offer Their Souls a few years ago. No, I haven’t tried them all, there are if not hundreds then dozens in between). Even though Pollux is a very productive artist, he still keeps a fine quality in his works. But the ones I’ve tried, mainly Abandoned Area, Lune Rouge and Wasteland have left me just quite pleasant aftertastes.

My Beautiful Melancholia which somehow has an enticing name, however leaves a very good impression. The varying beats give a lot of new grounds to the ambient of Pollux and make for a new interestspan. First track Absence (Blasted Version) even makes repeated hipsteresque background woman vocals work; without reminding of wool sweaters, MacBooks and instragram-jokes too much.

It is followed by Rain In Your Face & Stress In Your Mind (Loosening Version), which is rather a positive chillout vibe with nothing much happening except variation and growth circling around the same set of melodies. UAV Style (Plasma Version) continues the same but for me has a more complex variation. Not a huge amount of goosebumps but stellar progress and mild surprises.

The real catch is the title track. Similar than Pollux’s track “Black Hope”, it is has a very Braid’ish melody; I can see the town in flames in the main screen in my soul’s eye. The effect is very pretty. Pollux really works best when associated with a certain mental image. My Beautiful Melancholia even has a sort of evil twist in it, but it entwined between the beautiful parts that it doesn’t bother like some evil horror ambient might bother. It just adds more to it.

One advice for even more enjoyable experience is to take any track from the all stellar Lune Rouge (lately i’ve preferred Espoir de Verre) and the intro of Wasteland “Fallout New Vegas – Goodsprings Wasteland, Day (Remix)” as the first and second track. Then you have an album that does last a bit longer and provides even a wider variety of welcome ambience. The darkness of Lune Rouge is brilliantly overtaken by pleasant ambient, beats and then My Beautiful Melancholia. As an outro the tense Corruption Eternelle is often my choice. It brings a nice, star-light eclipse wandering along the shining dust clouds in circles -effect to finish up the album, if you know what I mean.

As always, a free download: http://archive.org/details/siro416Pollux-MyBeautifulMelancholia

The nmmrem-extended album version as free downloads:

1. Espoir de Verre (archive.org)

2. Fallout New Vegas – Goodsprings Wasteland, Day (Remix) (bandcamp)

3. My Beautiful Melancholia (Whole EP)

4. Corruption Eternelle (archive.org)

Night In Gales – Necrodynamicg

In 2001 when Necrodynamic was released, Modern Melodeath was on a really big ascension with names like Soilwork and In Flames leading the pack. Night In Gales previous effort Nailwork was released in 2000 and while being a bit of an oddity, still had most of that 2000s’ melodeath touch.

Criminally underrated stands Night In Gales Necrodynamic. It is often referred with a shrug as the weakest effort of a mediocre melodeath band. While it may be true that Night In Gales never were better than a mediocre melodeath band, they did succeed in composing memorable songs and good album entities. In Necrodynamic Night In Gales is probably as far from melodeath as they’ve ever been. Ironically lyrically they are almost only about death. The songs usually encompass a sort of thrash metal-edged drive with nicely raw and muddy sounds; far away from the typical “modern melodeath sound”, but still melodic and heavy.

The most unusual thing about Night in Gales has always been the compound words in their lyrics. In earlier albums their guitar work was at times also very odd and while not always perfect, still original. Like guitar work the lyrics turned less experimental with time, but still have a pinch of old. How about:

Down for more of those nothings
Neonecrononsense and unlight
Saw a skeleton eatin’ its gravestone
But I keep these words inside

The songs have plenty of groove and while the lyrics aren’t filled with oddcompoundworks anymore; they are still pretty fun.

I really got into Necrodynamic nearly 10 years ago and the song trinity Deathmouth Daisies, Song Of Something and Right From The Morgue is still as fun and rocking as they used to be. There are a lot of albums which I then thought as masterpieces but find hardship in appreciating now. Necrodynamic is still fresh. An album which I’ve always enjoyed and never mixed it up as being a masterpiece.

It is the sort of album you may have heard about; but didn’t know how good it is. Hell, rest of Night in Gales albums were re-released in 2008, but not Necrodynamic. While it may be because of copyright reasons, it still does criminal injustice to the album. I think it was just the wrong time for a modern melodeath band to release an album which was not modern at all.

83/100

Covolux – Paris // NMMREM XIV

As marketed for workplaces as a background music in an work environment

Covolux’s Paris is an ambient release which is most suitable for light office work with little to mediocre background noise. The test subjects found this release most worthwhile while listening as a background music two to three times a day. Positive aspect of this release is also that the listener does not need a good sound system to enjoy it, the sound flows nicely enough from laptop speakers and provides a rich soundscape for concentration. Beautiful melodies flow on but only rarely fully consume the listeners attention (electric shock devices to prevent this from occurring can be bought at a discount from our store).

The legend of certain ambient noise boosting the effectiveness of work is definitely not untrue with this release. 80 out of 100 test subjects from the extremely picky group concluded that Paris is good concentration music and also sets up the mood for work with beautiful ambient tones keeping the mind light and intact. Just where you as a corporate businessman want your workers mind to be. We at Sirona-Records are permanently offering all our releases for free, so you and your massive corporation can boost your work-effectiveness for free! Forever!

Download for free: http://archive.org/details/siro170Covolux-Paris