Such a great fecking album. It's allure is the unexpected musical twists and turns. I love Kayo Dot too though. Great review. Review 'Leaving your body Map' too as that's nearly just as good.

Don't get me wrong I like Kayo Dot too, even what I consider their worst album I gave a 7.4 earlier in this thread. Leaving your Body Map just doesn't do much for me in comparison to Bath, and I do infact prefer the two first Kayo Dot albums to it. My fruit psychobells is still amazing though.

Joanna Newsom fascinates me, I would greatly appreciate a pm. :beer:

I know I’ve ranted and raved about the Mars Volta since I came here, but I’ve never actually stuck my head out and reviewed one of their albums, well no better time really. This is, absolutely the worst Mars Volta album to date, however it’s also my favourite. Despite a total lack of direction, completely overblown and the fact that it’s just random odds and sods that the band decided to record and that I very much dislike the last 4 songs. As I said, it’s the worst, but my favourite.

Take the start, Vicarious Atonement, the band works itself up, the guitar wails and meanders about for minutes before anything actually happens. Cedric finally bothers to start singing and when he does it is total and utter bullshit. A variety of instruments and sounds are meshed together seemingly randomly to great effect, that is of course if the aim is to confuse and upset a wide variety of listeners.

When I first heard this album it completely blew me away, I was absolutely astounded, this band had actually released an album so absurd, so useless, so utterly rubbish. But that was the appeal, in the first two or three months of the album leaking I had heard it at least upwards of 300 times, I knew every word, every single bit of total gibberish, I could even sing the Spanish verses! Since then it’s fair to say that I only spin it once a month if it’s lucky, but still, that’s quite a lot considering.


The only song I’d truly consider good and well in any way to the point is the much hated Vermicide, what is it with Mars Volta fans hating the shortest songs/singles of their much coveted albums? I don’t care if you hate it, it’s damn catchy. It’s worth noting that Frusciante contributed quite a lot of guitar to the album as he has done with all the other Mars Volta works. You know if you have to recruit members from Red Hot Chili Peppers that it’s going to be bad.

Unlike my other recent reviews, I won’t be including youtube videos, sorry I really don’t want to make you all suffer through needless drivel.


RAP! Wait, sorry more crap, and for fucks sake another 10+ minute long song. Meccamputechture is an affront to Islam, to associate such utter rubbish with the holiest of all religions is nothing short of sacrilege. Christ [sic] Cedric’s voice gets annoying quickly. Humans as ornaments? More like Mars Volta as shutting up, that would be far more novel.

To be honest I could endlessly go on about how utter rubbish the last half of the albums is, but I won’t bother, I’m just going to say, don’t ever, ever listen to it, the first half is barely worth it in order to insult it justly.

Despite the fact that it’s one of the worst albums ever released to critical acclaim, and definitely the worst Mars Volta album, this is my bloody review thread, and this is quite possibly my favourite album of all time. Thus logic, reason and taste must be thrown out of the window for the score.

I've had this album (and the others from Mars Volta) and although I've given it a couple of spins, I don't really know it very well yet though the overall impression is that it's enjoyable. Reading your review, I'm not really sure wether I should dive headfirst into this or ignore it and rather go for one of the other MV albums. I can say already that I do like the Vermicide song.

Schizophrenic qualities aside, that was a genuinely fun review to read. Great work. :)

Great review, I really enjoyed reading this. Every time I listen to this album I always feel like it goes downhill around the middle of Asilos Magdalena. I've been wanting to just listen to the second half by itself sometime, to test if I really don't like as much or if Cedric's voice and intensity is just getting to me. I've yet to do it. The fact that I can listen to Frances The Mute all the way through still puzzles me.

I also love the way The Mars Volta used total gibberish, although if you noticed there seems to be a religious backbone to the entire work. When listening to some interviews with Cedric and Omar I think they said something like (and I'm paraphrasing here) "It's more about what the listener takes from it". I personally take Amputechture as a work of abstract music.

So, after reading this still not sure if I should shell out the cash to get it. I could demo it myself, but would rather get your opinion because you've let it grow on you. Would you recommend this album?

I don't really know if I would reccomend it to anyone, download it imho, see how you feel about it. It's certainly a very enjoyable album for me, and I know a lot of others enjoy it too, but there is a very large majority that don't, and even a lot of TMV fans dismiss this album.

It's a new review! omygod.


I think this is the third album from 2007 so far to make it onto this list (feel free to correct me as I cba to check, just be happy you’re getting a fucking review from me.

Something’s always bugged me about this album, more of a curiosity than an annoyance though. Despite the massive and obvious black metal influences, it never comes off as “heavy”. Instead the metal passages carry a certain, mystical, beauty. Repeating chords and wailing guitars with simple drums somehow resonate in a way which just plucks at your heart strings. Even so you’ll feel relieved when the more quiet parts come around, but eventually you’ll start missing it.

This album digs deep into your heart, Printempts Emeraude is a beautiful example of that. The track builds up a tension and then eases it off, but just not enough for your mind to completely relax. The kind of nervous and careful structure of the song make you feel like it could shatter at any second. It’s more of a lullaby than an evolution of black metal. Sometimes however, it feels like you’re listening to Nirvana’s Come As You Are (don’t ask me how I make the connection listen for yourself.


The album loosens up a bit as you dive further into it, the title track is a welcome diversion. The nervous nature of Printempts finally gives in to a more cheerful soundscape in the title track. From a fragile beauty to a more confident, strong, but still beautiful ambience. Even Les Iris stays a bit off the heavy side, while far more powerful than the rest of the album, there’s something about it that just keeps it from ever getting too much.


Despite the relatively short length of the album, the main good and bad thing about the album is the repetitiveness in the songs. All songs are between 6:07 and 7:39 in length and generally follow the same structure. While there are slight variations in it, if you’re trying to intently listen and analyse it can get tedious. However, if you’re out to enjoy this album, it makes it even more enjoyable. Sit back, relax with a nice pint or glass of spirits and just let the melodies and atmosphere wash over you in waves. It can eventually put you into a bit of a stupor.

The whole album very much evens out and eventually just fades away incredibly peacefully. The whole album plays out very much like the kind of dream you’d hit the snooze button to continue. And in that same way you’ll probably want to play it again and again, just for that feeling you get when you listen to it. It is a very satisfying album and it gives exactly what you want, unfortunately it’s a bit short, but put it on loop and you’d probably not notice the difference.

It's an awesome album that works on many levels. Is it Shoegaze? Is it Black Metal? Who cares?

Yay, grats on reviving your journal, Comus :D

Your review made me curious and the Alcest albums sounds interesting indeed. I'll check it out!

Young, innovative and full of energy, is one way to describe Lars Jensen’s brilliant solo debut. Finished off with the help of some other notable names in the current Norwegian metal scene this album shows maturity beyond its years. The guitars are far more powerful than in a standard black metal album, and the melodies can often be described as insanely catchy. You’ll instantly fall in love with some parts of this album, the first female speaking vocals in Gygra & St. Olav is a certain favourite. Fela Etter’n Far is very reminiscent of early Moonsorrow with a very epic feel to it while still incorporating the traditional folk rhythms and melodies.


The whole album comes off as incredible accessible, in a good way, not in the Dimmu Borgir way, but in a way that you could see how anyone could, given time, appreciate it. The album is never overly abrasive for the sake of it, and it certainly pays off for the listener. The guitars in this album are a joy to behold, especially the range of the playing is intriguing. A lot of the passages can be described as incredibly progressive, with a hint of tribute to some of the other Viking metal greats, such as the aforementioned Moonsorrow, Enslaved and Bathory.

Despite similarities the whole tone of the album, as shown best on Tre skygger tel kølbrennern kom, it’s very jangly, very happy and upbeat and it’s not taking itself overly seriously. The whole organic feel of the album adds so many more avenues of experimentation and listener enjoyment. You never quite feel like you’re listening to something that’s been produced and packaged as music, it always feels like a small journey into someone’s mind. The only thing this album is missing a 15 minute epic, Myrkgrav would be the perfect band for it, given Jensen’s penchant for creating the “epic” feel.


One thing I have yet to comment on is the atmosphere of the album, which for a Norwegian metal album is pretty damn crucial. The reason I put it off until the end of the review is because it is so very important to the overall sound of this release. The songs run very well and don’t break the feel that’s trying to be created and that’s a huge bonus. The whole soundscape manages to set the imagination free and it’s absolutely liberating to just sick back and listen to this album just do its thing. The whole folk oriented sound really throws you back and without using too many cliché’s it really feels like you’re back there with the raping, plundering and ingenious farming of the Vikings. Well not so much the raping and plundering and more the farming and enjoying the nature and society.

Overall the album flows well, sounds good and is different enough to not feel stale. All it needs is some recognition.

Ukraine’s answer to basically any great black metal band ever improves greatly with this release; yeah I didn’t know it was possible either. The album structure composed of three ten minute songs and one four minute closer seems incredibly strange, but if you listen through it you’ll understand why. There seems to be a sort of playing off between the songs, which adds tension to the album and makes it more and more enjoyable the more you listen to it. The vocals sound desperate, desolate and haunting, what more could you want from a black metal album?

Parts of this album are very reminiscent of 70’s Canterbury scene bands, with quite whimsical melodies and awesome guitar solos played quite low in the mix below the droning riffs and drums. A perfect example of this comes in at around halfway through Solitary Endless Path. Also prevalent are the Ukrainian folk tunes that appear throughout Drukdh’s other albums.


Sties at Our Feet see Drudkh venture into new territory, the whole sound of the song is very progressive, and it really does seem like they’re going to take that road from now on. The whole song seems to work through a few general concepts, expand upon them and then relate it to the next which works incredibly well and lets you run through the song in a very enjoyable manner. It also makes the whole song seem criminally short, and as such leaves you wanting more and more. The melodies and guitars and higher in the mix here and it makes it even more enjoyable.

Where Horizons End is probably the strongest song on the album, the shifts, the solo, the vocals everything just works for them here. And the atmosphere has been nicely established by the first two songs. The whole thing shifts from Progressive Black Metal to Progressive Folk Metal through the song, and creates a massive tense atmosphere with the change, the whole thing sounds like a massive morph and it’s absolutely incredible.


The album closer Only The Wind Remembers My Name gives good closure to the album. The only huge drawback about Estrangement is the length, only 36 minutes long, and it leaves you wanting so, so much more. I really hope their latest album continues this trend because this album is seriously epic.

This Drudkh album sounds excellent but I have a huge problem with the production. It's sounds very tinny and I would love a lot more meat on it. There seems to be a lot going on and better production would allow their expansive sound to come out a little more. I would like to hear the album uncompressed to get a better impression.

A wind shakes the barley, moving ever slowly through the field. A child stops, and is amazed by the beauty, he sees into the eyes of god, and forever he is saved. An old man repents his sins and passes away a minute later, an anguished expression on his face. People line the streets to see the parade; a band marches forward, defiant, strong and proud. Slowly building up their momentum, ready to burst.

The caterwaul of a machine cuts through the peaceful air, but is muffled by the band, many cheer, others are afraid. A Storm approaches, the band goes for one last hurrah before the crowd scatters. The wind that shakes the barley has been joined by rain, the child long since gone, faded away. The field is ravaged, and the farmer takes his life, for a brief moment he sees peace, he knows peace, he becomes peace.

A trickle of water flows down the avenue, joined by another the water flows almost silently, weaving patterns through the cobbles. But no one can see the beauty; all they can see is destruction. The Storm rages, but the philosopher sees only the calm, the beating rhythm of rain, the music of the wind. The tribal urges within him send him mad; he runs into the storm and is never seen again.

This is the impression you should get from the first 16 or so minutes of this album, and needless to say it only gets better. This album has it all, beauty, abrasiveness, emotion, and most of all: complete control. You feel like you’re listening to something that has been crafted by the finest artisans, and I’d pretty much say you are. There’s nothing else to say about this album except for those of you who haven’t heard it, do so… NOW.

I'm very skeptical but you've talked me into giving it a shot. Buying it on Itunes as we speak. 10\10 is high praise.

I've been reluctant to try these guys out too, because everything points to boring. But maybe...just maybe...based on this I will check it out sooner than later.

Woh there pitchfork.

A victory for the people who donated, a victory for music production, and a victory for the music listener. This is one hell of a journey, this is an album that will consume you, it will break your heart every time only to force you to fall in love again. First I’ll have to say, this doesn’t sound like anything maudlin of the Well had done previously, almost all of the metal is gone. I recently criticised Kayo Dot for the same thing, but this has done something different, it’s done it so well that you can’t help but forgive it.

The first cheerful 30 seconds of this is so incredibly uplifting, it’s insanely happy, especially if you know that it’s going to be followed by what is quite possibly the most awesome album of all time. A beautiful string arrangement comes in and really sets the mood for what this album is all about. The guitars resonate throughout and just add a lush flavour that you can almost taste, the layering is absolutely stunning. The vocal are perfect for the mood, out goes the harsh and in comes a completely clean vocal performance and it works amazingly well.

The slow build up is accompanied by sheer beauty and suddenly you’re thinking where the time has gone the whole thing just suddenly escalates out of nowhere. It will make you feel like you’re floating on top of the world. And before you know it, the first song is over. Another Excerpt feels like the start of a beautiful awakening, and the start of it is more classical in nature than anything. The build-up, the production and the atmosphere have all been created to perfection.

And there’s no disappointments, no anti-climaxes, just utter perfection, and buried deep in the mix is some incredible guitar solos that are just waiting to burst to the forefront, but never quite get there. Everything just seems to end so quickly, it never feels like you get a whole song, 10 minutes becomes one and everything feels lost, it can drive you mad just wanting more. Every now and then you’re just going to drift out of it and then when you snap back you notice you’re already halfway through the whole thing.

I’d like to take this time just to explain the sheer beauty of this album. There’s something to admire at every step of the way. Every note seems to be put there purely for your enjoyment. It’s like it knows exactly what you want and just delivers. The strings, the drums, the keyboards and the guitars; everything just works so perfectly, parts of this are pure silent perfection. And then other times it just overwhelms you with a beautiful wave of sound.

The closing track is quite possibly the only thing that can be tied down to make this overly familiar with motW fans, it’s the heaviest track, but that doesn’t explicitly say there’s any real metal on it, it just sounds more powerful. Yet it still retains that control, direction and beauty.

There’s not much I can say about this album that hasn’t been said other than that I’m absolutely stunned. My faith in new music has been restored, and I really hope that in 20 years 2009 will be remembered as the year that maudlin of the Well shocked the world with this total classic. And let’s not forget it’s available for free on their website.

This is one of my all-time favourite albums. Coming very late into the prog game, by this time it had been completely dismissed. This album however managed to find a niche, a specific audience and as such has stood the test of time to be come something quite special. It has managed to create hit singles while still keeping the integrity of the album, which is by no means an easy thing to do.

The album starts off with the brilliant and very well known Tom Sawyer. If you haven’t been living under a rock since it was released there’s a very good chance you’ve heard it. By this point in reading, I’d advise you to put on the album on last.fm and just let it run through. The vocals are nothing short of infectious and the drumming is hiding an epic brilliance hiding under the surface. The album flows quite well into Red Barchetta with an appropriate slowdown to let the listener gather his thoughts and pay attention to the music.

I’ll not go into the concept of the song, but it is incredibly interesting to say the least, but far more satisfying to find out by yourself. The song is all about the story, but you’ll soon find that there’s solid backing in the structure, especially in the rhythm section. The album really does manage to rock very hard without going too deeply into hard rock territory. There’s always been something about the production on this album that’s caught my fancy.

And then there’s YYZ, which frankly is in a class of its own. The classic riff, the drums, everything just shines on this essential progressive rock instrumental. There’s just an epic feel to the whole song, based around the simple Morse code which is just something very special. This naturally brings me to what I’d call their two companion songs on the album, Limelight and the Camera Eye. The whole concept of “being in the limelight” seems to be quite pressing on the band.

The epic The Camera Eye just seems so fitting to me, the whole sound is just so heavy. There’s always something going on and I feel Rush are at their best when they’re doing this kind of layering. It’s still done very subtly, and there’s still that nice 70’s stripped back sound that makes it a pleasure, not a chore, to listen to. The drumming really excels here, and it becomes very clear why Neil Pert is so highly regarded.

You can tell this is a band at the top of their game, and clearly releasing exactly what they want. It feels very natural, and as such, like I’ve said before, the whole album flows incredibly well. It’s also very easy to become lost in the music and just start tuning out which is exactly what I want from a good album. My absolute favourite song from the album here is Witch Hunt. I think it Geddy Lee’s vocals really shine here.

Features Distorted in the Flickering Light
Faces are Twisted and Grotesque
Silent and Stern in the Sweltering Night
The Mob Moves like Demons Possessed

Thee album finishes with the brilliant vital sings, but if I haven’t already convinced you to check this out I don’t think I can. Maybe the score will help.

10/10

The guitar riff in Witch Hunt is absolutely superb and you are right about The Camera Eye. Such an epic song. This is my favourite Rush era TBH with this and then Grace Under Pressure and Power Windows completing my favourite trilogy. I have never been hugely into their early stuff despite moments of greatness. I always thought that it took them a few albums to really find their own sound.

I actually haven't listened to Rush for about two years despite owning 4 or 5 albums by them. In the pursuit of new music, it is good to be reminded of the music that set you on this journey to begin with.

such a good album. and as always, great review

Man, I'm listening to Moving Pictures for the first time in a couple of years and I'd forgotten just how good it was. Back when I first heard it, it amazed me how Geddy Lee could be so busy on bass, yet his lines would fit in so well... and even now, I still can't believe how godly he is.

i think Alex Lifeson is pretty is pretty underrated as a guitarist. his solo in YYZ is soooooo good

KAN u do a thing where every time u write a review we get a email cause your reviews are tasty

I've started doing my reviews in my blog, so just subscribe to the RSS feed on it :)

Great review of Rush comus. Liked it alot.