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Paedantic Basterd · 11-13-2011, 09:58 AM

First Impressions has become a new section of this journal: Recently. I've been finding myself pressured to write something about every new release I've heard, usually only the once, sometimes months before I feel like writing about them. Naturally, the writing in the journal suffered when I attempted to cram in entries on albums I had nothing to say about. "Recently" will function in much the same way as "First Impression" did; to discuss the new releases of the year, but with quality to the forefront of the journal. This means in the long run, fewer entries, but hopefully higher quality reading! Traffic light system of approval will remain intact, though I probably won't be using many red lights, or any yellow lights at all. And now, without further adieu:

Snowman - Absence (2011)
Genre: Art rock

There's been some discussion this time of year on how Horror has become a laughing stock genre in mainstream film. It is a genre that capitalizes on gimmicks to generate an experience, more of fight-or-flight surprise than of simmering psychological fear. More often than not, the genre reduces itself to parody by attempting to outdo its predecessor films in terms of grotesqueness so that it loses sight of that which is truly frightening: concepts and the liberties our imaginations take with them.

I am not frightened by men in novelty masks, or giant crustacean aliens, or demonic children. I daresay most people do not perceive these as realistic threats to well being. It is not these images, but the underlying idea that returns home with us to keep us tense in bed, reeling with anxiety: that we are not alone, and we are helpless in it.

Snowman's Absence succeeds in fear where common sources of horror do not. This album is truly the work of nightmares. Snowman presents a soft and dreamy soundscape, a muted and surreal world of curious instrumentation. Unintelligible vocals sound of childish wonder, but the undercurrent of tribal percussion and awkwardly tuned guitars tell of violence. The vocals turn to helplessness. The drums turn to pursuit.

The tone is set from the first track, Snakes & Ladders, a dark and sexual song, predatory and sinister, and continues in heightening suspense over eight songs; a surge of percussive adrenaline in Hyena, a flight through twisting passageways on A. Absence engages the senses tied to fear in its expression of barely controlled fury.

It is an album that invokes the numbing sensation of being watched by a presence you can't see or comprehend. It trembles with a slow-burning rage, and draws you in. It is the black open space you must turn your back on to leave. It is the blurred, distorted reflection in the window at night. It is one of the finest and most subtly disturbing albums of the year, and delivers where like-minded media does not: by both unsettling and freeing our imaginations.

11-13-2011, 09:58 AM	#93 (permalink)
Paedantic Basterd Music Addict Join Date: Sep 2010 Posts: 5,184	First Impressions has become a new section of this journal: Recently. I've been finding myself pressured to write something about every new release I've heard, usually only the once, sometimes months before I feel like writing about them. Naturally, the writing in the journal suffered when I attempted to cram in entries on albums I had nothing to say about. "Recently" will function in much the same way as "First Impression" did; to discuss the new releases of the year, but with quality to the forefront of the journal. This means in the long run, fewer entries, but hopefully higher quality reading! Traffic light system of approval will remain intact, though I probably won't be using many red lights, or any yellow lights at all. And now, without further adieu: Snowman - Absence (2011) Genre: Art rock There's been some discussion this time of year on how Horror has become a laughing stock genre in mainstream film. It is a genre that capitalizes on gimmicks to generate an experience, more of fight-or-flight surprise than of simmering psychological fear. More often than not, the genre reduces itself to parody by attempting to outdo its predecessor films in terms of grotesqueness so that it loses sight of that which is truly frightening: concepts and the liberties our imaginations take with them. I am not frightened by men in novelty masks, or giant crustacean aliens, or demonic children. I daresay most people do not perceive these as realistic threats to well being. It is not these images, but the underlying idea that returns home with us to keep us tense in bed, reeling with anxiety: that we are not alone, and we are helpless in it. Snowman's Absence succeeds in fear where common sources of horror do not. This album is truly the work of nightmares. Snowman presents a soft and dreamy soundscape, a muted and surreal world of curious instrumentation. Unintelligible vocals sound of childish wonder, but the undercurrent of tribal percussion and awkwardly tuned guitars tell of violence. The vocals turn to helplessness. The drums turn to pursuit. The tone is set from the first track, Snakes & Ladders, a dark and sexual song, predatory and sinister, and continues in heightening suspense over eight songs; a surge of percussive adrenaline in Hyena, a flight through twisting passageways on A. Absence engages the senses tied to fear in its expression of barely controlled fury. It is an album that invokes the numbing sensation of being watched by a presence you can't see or comprehend. It trembles with a slow-burning rage, and draws you in. It is the black open space you must turn your back on to leave. It is the blurred, distorted reflection in the window at night. It is one of the finest and most subtly disturbing albums of the year, and delivers where like-minded media does not: by both unsettling and freeing our imaginations.