To the setting sun
Here. Songs from the 41st through 60th new releases I heard this year. There is some truly awesome shit in this batch, don't sleep on it. I am trying a new thing with some band photos to break up the text. It's a simple improvement for my playlist posts which is about seven years past due. Who knows, maybe one of these years I'll put some tags on this and the previous 219 posts. Also, if you notice that this list contains a number of selections from all-cover albums, know that this was not by design.
1. The Beach Boys, "Shelter" (That's Why God Made the Radio, Capitol) - The megahyped fusion of Brian Wilson and Al Jardine with the Mike Love-lead Beach Boys roadshow is not intended to shatter paradigms, so let's get the old-timers out of the way before things get too intense. As has been noted virtually everywhere, the pretty harmonies and gentle arrangements are leavened by a bittersweet (and wholly appropriate) sense of mortality, the Boys shimmying and limboing all summery-like while unable to shake the thought that autumn is approaching. Radio is anachronistic by design, yet as genuine as could be possible for this sort of proposition. While it will not rule your world, if you've ever enjoyed the Beach Boys, you will not hate it.
2. Woods of Ypres, "Traveling Alone" (Woods 5: Grey Skies & Electric Light, Earache) - When talking about mortality hanging over an album, I'm unable to name a more personally devastating example than what has turned out to be my favorite Canadian metal outfit's final CD. After more than a decade of slogging it DIY to much underground acclaim, David Gold gained label and promotional support from Earache for his fifth output under the Woods of Ypres banner. Finally poised to have his emotionally gripping, highly personal vision of melodic doom/black/goth metal appreciated by intelligent folks everywhere, Gold shockingly died in a car accident a few days before last Christmas. The soul-baring ideas David explores here — particularly the embrace of life in spite of understanding that you're going to die — become exponentially sadder and a little chilling in light of what occurred after these songs were recorded, but his peerless, introspective lyrics have always showcased a preoccupation with finality and duality. This song is a fine example, an honest meditation on the solace of faith inspired by a conversation Gold had with a devoutly religious local while traveling in Kuwait. While Gold's death has probably contributed to the wide veneration of the album, I believe the praise would have come anyway, as this is the most accessible set the band ever delivered, with morose hooks aplenty and the hearty variety of styles that was the late singer/guitarist/drummer's specialty. I had the honor of seeing Woods of Ypres play live three times, and had the pleasure of speaking with David on several occasions, in person and through e-mail. I gushed like a stupid fanboy every time, and he was always unbelievably humble and gracious. Because his band has long been an Entartete Kunst favorite, 5 is a rough listen if I'm already feeling melancholy, but that does not tarnish its beauty, vitality or humanity. If such a thing is possible, I truly hope that Gold's wounded, insightful spirit has reached peace.
3. Anathema, "Untouchable, Part 1" (Weather Systems, Kscope) - Surely an influence on David Gold at some point, Anathema also trades in deep emotion, and things are a bit stormier this time than on 2010's elegantly warm We're Here Because We're Here. The assemblage of siblings' latest opus largely retains its predecessor's swelling post-rock glow, but offers greater gravity in romantic, elegiac themes of letting go (of fear, of loved ones, of life). The darker vibe of a few tracks is vaguely reminiscent of Anathema's heavier material from the late '90s/early '00s, although there is a stark difference between the way they used to wallow in loss and the more mature manner with which they process it today. When a decades-old band can move you to tears within its new album's first track, you have to admit they still have it.
4. Sigh, "L'excommunication a Minuit" (In Somniphobia, Candlelight) - Fuck, yes! Japan's most unpredictable pranksters have really outdone themselves on their ninth album, building on the strengths of 2010's orchestral carnival Scenes from Hell while reaching back to the woozy psychedelia of their 2001 cult classic Imaginary Sonicscape. Within a loose theme of nightmares, the guys and girl deconstruct bong rock, cocktail jazz and several types of metal, affixing lysergic effects, exuberant instrumentation and strangely sonorous harmonies where they have no right to succeed. This gloriously gaudy haunted house might just be the best Sigh album yet, and currently stands as my favorite album of the year. And how can you beat that cover art?
5. Aaron Freeman, "Marvelous Clouds" (Marvelous Clouds, Partisan) - Of course I am not pleased that Gener has pulled out of Ween and gone solo, effectively ending one of America's greatest modern musical partnerships. However, I saw him play a solo show last fall, and while he sounded great, it was clear that his many years of hard partying on the road had taken their toll. He has evidently removed himself from that whirlwind of temptations, and I wish the dude well. His announcement somewhat coincided with the release of his first album under his real name, a collection of covers by '60s pop troubadour Rod McKuen. It's an assurance that the Aaron/Gene we know isn't going anywhere, since any of these catchy, affected, slightly odd numbers would have fit snugly on a recent Ween album.
6. Grand Magus, "Iron Hand" (The Hunt, Nuclear Blast) - Sweden's Grand Magus came from a doom metal background and gradually migrated toward power metal, so their battle anthems are of a grittier lineage than your typical velvet-panted dragon slayers. They also have a pronounced classic rock edge that would make them a great current act to introduce to your cool uncle who's still into Judas Priest, Saxon and Dio-era Black Sabbath. Since he's probably a Republican now anyway, your uncle probably won't mind the despotic lyrics on this masterclass in headbanging mastery, but he might not cotton to the band's pagan worldview.
7. Diablo Swing Orchestra, "Black Box Messiah" (Pandora's Piñata, Sensory) - DSO thrives on a curious conflagration of clashing styles, but effectively integrating them has been their struggle in the past. It's understandable, as alt-rock exploration, gothy opera-singer Eurometal and groovy "swing" rhythms are not natural bedfellows. However, when the lofty Swedes get it right, they conjure a fizzy, exotic energy that belongs to no other band on this planet. They get it right pretty often on their third album, making it an ideal place to start if you've never experienced this unique troupe. This song is not really representative of the rest of the album, but it is totally insane and should be heard by everyone, everywhere.
8. AtomA, "Highway" (Skylight, Napalm) - There once was a little band called Slumber, who released one decent slab of old-school Katatonia worship before going into hiding. Slumber has finally resurfaced as AtomA, a more ethereal endeavor that masterfully evokes the spacy electro-aggression of prime Ewigkeit or the lighter side of Samael, yet attuned to the modern post-metal environment. This is a dynamic, immersive, cohesive listen that definitely surprised me, the strongest debut I have yet to hear this year.
9. Kool Keith, "Impressions (feat. Keith Murray)" (Love and Danger, Junkadelic) - At this point, I am only keeping up with Kool Keith out of highly strained loyalty and dumb hope that he will, one of these years, deliver another album worth obsessing over. That hope was diminished when the veteran eccentric claimed this was his farewell recording, but who believes those sorts of announcements anymore? While certainly more "professional" than the ramshackle, sub-demo Lost Masters series or the preposterous screwed vocal overkill of the Commi$$ioner releases, the MC's club tracks are irritatingly chintzy, and he has now revisited his themes (iconoclasm, sex, industry wackness) so many times that his individualism seems less a signifier than a forced persona of which even Keith is tired.
10. The Tallest Man on Earth, "Criminals" (There's No Leaving Now, Dead Oceans) - While this is sadly not a cover of countrymen Katatonia, Swedish folkie Kristian Matsson occasionally evokes a similar strain of introspective uncertainty and tension. His third album isn't as raw-sounding as his earlier ones, and there are slight additions to the instrumentation, but Matsson's sprightly guitar and reedy Bob Dylan whine remain the focal points, delivering sparse and pointed melodies that really stick with you.
11. Blood Mortized, "Doomsday Architect" (Key to a Black Heart, FDA Rekotz) - And speaking of Sweden, it's a good thing that old-school Swedish death metal never goes out of style (and is, in fact, booming due to nostalgia right now), as I always need a couple of good albums in this vein to get me through every wretched summer. The relatively unknown Blood Mortized's lack of innovation doesn't help them stand out from similar modern crews, but with Dismember calling it quits and Entombed apparently content with releasing re-recordings as singles, new blood is pretty much all we have. The trio's second LP surely does the job, blending groovy churn with gloomy melodic leads, adding a little thrash and doom for flavoring.
12. Tenacious D, "Señorita" (Rize of the Fenix, Columbia) - At this point in Jack Black's career, rejoining Kyle Gass to revive his deedly-doo rock n' roll striver schtick seems a bit disingenuous. Since Tenacious D's "Pick of Destiny" soundtrack, the actor offset the goodwill he maintained via "Kung Fu Panda" and "Tropic Thunder" with such unloved comedies as "Year One," "Gulliver's Travels" and the painful-looking "The Big Year." Even without this celebrity context, Rize is a far cry from the off-the-cuff blast of the D's debut, with their rock/sex humor having grown mighty predictable and a running time too brief to justify the six-year wait. On the other hand, it's not a disaster, boasting some catchy numbers and even a few real classics such as this one, and at least they're honest about their movie having flopped.
13. Candlemass, "Siren Song" (Psalms for the Dead, Napalm) - Another old-time act supposedly releasing their final album, Swedish legends Candlemass have picked a curious time to call it quits in the studio. While not as weighty as 2009's Death Magic Doom, Psalms sees the band still refining its style with the addition of moody vintage keyboards. Since they hit a late-career stride a few years back after the addition of Solitude Aeternus frontman Robert Lowe (recently replaced by Abstrakt Algebra/Krux stalwart Mats Levén for live shows), it would be a shame to lose one of the few classic doom metal bands who are still making quality albums.
14. Ulver, "In the Past" (Childhood's End, Kscope) - After last year's disappointingly slight and wispy Wars of the Roses, it's actually a relief to hear Ulver sounding like a rock band again. I wouldn't have guessed a collection of covers by vintage psychedelic and garage rock acts would be this engaging, but the Norwegian chameleons chose a great mix of lesser-known cuts ranging from uptempo garage numbers to dreamy acid pillows. Some of the more famous subjects include The Byrds, Jefferson Airplane and The 13th Floor Elevators. This groovy tune was originally by We the People, although Ulver is covering The Chocolate Watchband's version.
15. Brendon Small, "On My Way" (Brendon Small's Galaktikon, self-released) - Released to coincide with the premiere of "Metalocalypse" season four, the debut solo album by the show's creator looks kinda like a Devin Townsend album, down to its jaunty sci-fi concept and Gene Hoglan on drums. Dethklok's streamlined melodic death can certainly be heard in the mix, but there is a hearty dose of prog/power metal and even some grungy bits to mark this as a less intense experience than Small's main meal ticket. Not essential, but a decent listen if you dig the guy's sense of songwriting and humor (the story is about an intergalactic superhero who has to save his ex-wife from his archnemesis).
16. Sin Fang, "Strange House" (Half Dreams, Morr) - Icelandic singer-songwriter Sindri Már Sigfússon, stage name Sin Fang, specializes in delicate, woozy indie pop embellished with intricate studio tricks that lend them a ghostly, cerebral quality. His latest EP offers more of the same pretty mood pieces heard on last year's Summer Echoes, songs that don't so much stick with you as float in from the ether and hover in your brain's pleasure zones.
17. Crystal Viper, "The Spell of Death" (Crimen Excepta, AFM) - Once in a while, I will check out a newer power metal band out of curiosity, as I used to be really into the style before the late '90s deluge diluted the talent pool. In this realm, Crystal Viper piqued my interest by hailing from Poland, featuring a female lead vocalist/guitarist and having an awesome name. The quartet doesn't lay waste to the competition on on their fourth album, as the songs are samey and stingy with compelling hooks, though I do appreciate the focus on driving metal over fluffy symphonics (they cover Vader!). And what Eurometal lover can't appreciate an ESL song title like "Hope is Gone, Here's New Law"?
18. The Shins, "Bait and Switch" (Port of Morrow, Columbia) - I will admit that I never listened to an entire Shins album before this comeback, just a few songs here and there, so I have no idea how it stacks up to the previous albums that made frontman James Mercer a collegiate hero. Port does sound like the work of a "mature" alt-pop outfit, professional and pleasant and incorporating a decent variety of tempos and styles (I was expecting jangly folk rock straight through). Not bad, although after several listens, it doesn't leave a lasting impression on me.
19. Ne Obliviscaris, "Xenoflux" (Portal of I, Code666) - Back in 2007, this Australian outfit made a splash on the web with a ridiculously advanced demo, but I totally forgot about them until I saw that this album was released. Purveying technical prog metal with an aggressive streak (they remind me of Into Eternity with more black metal influence and a full-time violinist), Ne Obliviscaris brought back all the songs from that demo for this belated full-length, but the new ones are lengthy and involved enough to absolve them from the need to have crafted more new material in the meantime.
20. Shining, "For My Demons" (Lots of Girls Gonna Get Hurt, Decca) - Hooray, this actually is a Katatonia cover! It's been a few years since I lost interest in Shining (this is the Swedish "depressive black metal" one, not the Norwegian one with the saxophone), as their records were starting to bore me and I have not felt like hanging myself since at least 2006. I really only checked this covers EP out because of this song. It's not an amazing version (Kvarforth's clean vocals are pretty shaky), but it's still nice to hear someone appreciating the Tonight's Decision era, when Katatonia was at a indie/goth zenith and, for the first but not only time, seemed to be decisively moving away from metal.
1. The Beach Boys, "Shelter" (That's Why God Made the Radio, Capitol) - The megahyped fusion of Brian Wilson and Al Jardine with the Mike Love-lead Beach Boys roadshow is not intended to shatter paradigms, so let's get the old-timers out of the way before things get too intense. As has been noted virtually everywhere, the pretty harmonies and gentle arrangements are leavened by a bittersweet (and wholly appropriate) sense of mortality, the Boys shimmying and limboing all summery-like while unable to shake the thought that autumn is approaching. Radio is anachronistic by design, yet as genuine as could be possible for this sort of proposition. While it will not rule your world, if you've ever enjoyed the Beach Boys, you will not hate it.
2. Woods of Ypres, "Traveling Alone" (Woods 5: Grey Skies & Electric Light, Earache) - When talking about mortality hanging over an album, I'm unable to name a more personally devastating example than what has turned out to be my favorite Canadian metal outfit's final CD. After more than a decade of slogging it DIY to much underground acclaim, David Gold gained label and promotional support from Earache for his fifth output under the Woods of Ypres banner. Finally poised to have his emotionally gripping, highly personal vision of melodic doom/black/goth metal appreciated by intelligent folks everywhere, Gold shockingly died in a car accident a few days before last Christmas. The soul-baring ideas David explores here — particularly the embrace of life in spite of understanding that you're going to die — become exponentially sadder and a little chilling in light of what occurred after these songs were recorded, but his peerless, introspective lyrics have always showcased a preoccupation with finality and duality. This song is a fine example, an honest meditation on the solace of faith inspired by a conversation Gold had with a devoutly religious local while traveling in Kuwait. While Gold's death has probably contributed to the wide veneration of the album, I believe the praise would have come anyway, as this is the most accessible set the band ever delivered, with morose hooks aplenty and the hearty variety of styles that was the late singer/guitarist/drummer's specialty. I had the honor of seeing Woods of Ypres play live three times, and had the pleasure of speaking with David on several occasions, in person and through e-mail. I gushed like a stupid fanboy every time, and he was always unbelievably humble and gracious. Because his band has long been an Entartete Kunst favorite, 5 is a rough listen if I'm already feeling melancholy, but that does not tarnish its beauty, vitality or humanity. If such a thing is possible, I truly hope that Gold's wounded, insightful spirit has reached peace.
3. Anathema, "Untouchable, Part 1" (Weather Systems, Kscope) - Surely an influence on David Gold at some point, Anathema also trades in deep emotion, and things are a bit stormier this time than on 2010's elegantly warm We're Here Because We're Here. The assemblage of siblings' latest opus largely retains its predecessor's swelling post-rock glow, but offers greater gravity in romantic, elegiac themes of letting go (of fear, of loved ones, of life). The darker vibe of a few tracks is vaguely reminiscent of Anathema's heavier material from the late '90s/early '00s, although there is a stark difference between the way they used to wallow in loss and the more mature manner with which they process it today. When a decades-old band can move you to tears within its new album's first track, you have to admit they still have it.
4. Sigh, "L'excommunication a Minuit" (In Somniphobia, Candlelight) - Fuck, yes! Japan's most unpredictable pranksters have really outdone themselves on their ninth album, building on the strengths of 2010's orchestral carnival Scenes from Hell while reaching back to the woozy psychedelia of their 2001 cult classic Imaginary Sonicscape. Within a loose theme of nightmares, the guys and girl deconstruct bong rock, cocktail jazz and several types of metal, affixing lysergic effects, exuberant instrumentation and strangely sonorous harmonies where they have no right to succeed. This gloriously gaudy haunted house might just be the best Sigh album yet, and currently stands as my favorite album of the year. And how can you beat that cover art?
5. Aaron Freeman, "Marvelous Clouds" (Marvelous Clouds, Partisan) - Of course I am not pleased that Gener has pulled out of Ween and gone solo, effectively ending one of America's greatest modern musical partnerships. However, I saw him play a solo show last fall, and while he sounded great, it was clear that his many years of hard partying on the road had taken their toll. He has evidently removed himself from that whirlwind of temptations, and I wish the dude well. His announcement somewhat coincided with the release of his first album under his real name, a collection of covers by '60s pop troubadour Rod McKuen. It's an assurance that the Aaron/Gene we know isn't going anywhere, since any of these catchy, affected, slightly odd numbers would have fit snugly on a recent Ween album.
6. Grand Magus, "Iron Hand" (The Hunt, Nuclear Blast) - Sweden's Grand Magus came from a doom metal background and gradually migrated toward power metal, so their battle anthems are of a grittier lineage than your typical velvet-panted dragon slayers. They also have a pronounced classic rock edge that would make them a great current act to introduce to your cool uncle who's still into Judas Priest, Saxon and Dio-era Black Sabbath. Since he's probably a Republican now anyway, your uncle probably won't mind the despotic lyrics on this masterclass in headbanging mastery, but he might not cotton to the band's pagan worldview.
7. Diablo Swing Orchestra, "Black Box Messiah" (Pandora's Piñata, Sensory) - DSO thrives on a curious conflagration of clashing styles, but effectively integrating them has been their struggle in the past. It's understandable, as alt-rock exploration, gothy opera-singer Eurometal and groovy "swing" rhythms are not natural bedfellows. However, when the lofty Swedes get it right, they conjure a fizzy, exotic energy that belongs to no other band on this planet. They get it right pretty often on their third album, making it an ideal place to start if you've never experienced this unique troupe. This song is not really representative of the rest of the album, but it is totally insane and should be heard by everyone, everywhere.
8. AtomA, "Highway" (Skylight, Napalm) - There once was a little band called Slumber, who released one decent slab of old-school Katatonia worship before going into hiding. Slumber has finally resurfaced as AtomA, a more ethereal endeavor that masterfully evokes the spacy electro-aggression of prime Ewigkeit or the lighter side of Samael, yet attuned to the modern post-metal environment. This is a dynamic, immersive, cohesive listen that definitely surprised me, the strongest debut I have yet to hear this year.
9. Kool Keith, "Impressions (feat. Keith Murray)" (Love and Danger, Junkadelic) - At this point, I am only keeping up with Kool Keith out of highly strained loyalty and dumb hope that he will, one of these years, deliver another album worth obsessing over. That hope was diminished when the veteran eccentric claimed this was his farewell recording, but who believes those sorts of announcements anymore? While certainly more "professional" than the ramshackle, sub-demo Lost Masters series or the preposterous screwed vocal overkill of the Commi$$ioner releases, the MC's club tracks are irritatingly chintzy, and he has now revisited his themes (iconoclasm, sex, industry wackness) so many times that his individualism seems less a signifier than a forced persona of which even Keith is tired.
10. The Tallest Man on Earth, "Criminals" (There's No Leaving Now, Dead Oceans) - While this is sadly not a cover of countrymen Katatonia, Swedish folkie Kristian Matsson occasionally evokes a similar strain of introspective uncertainty and tension. His third album isn't as raw-sounding as his earlier ones, and there are slight additions to the instrumentation, but Matsson's sprightly guitar and reedy Bob Dylan whine remain the focal points, delivering sparse and pointed melodies that really stick with you.
11. Blood Mortized, "Doomsday Architect" (Key to a Black Heart, FDA Rekotz) - And speaking of Sweden, it's a good thing that old-school Swedish death metal never goes out of style (and is, in fact, booming due to nostalgia right now), as I always need a couple of good albums in this vein to get me through every wretched summer. The relatively unknown Blood Mortized's lack of innovation doesn't help them stand out from similar modern crews, but with Dismember calling it quits and Entombed apparently content with releasing re-recordings as singles, new blood is pretty much all we have. The trio's second LP surely does the job, blending groovy churn with gloomy melodic leads, adding a little thrash and doom for flavoring.
12. Tenacious D, "Señorita" (Rize of the Fenix, Columbia) - At this point in Jack Black's career, rejoining Kyle Gass to revive his deedly-doo rock n' roll striver schtick seems a bit disingenuous. Since Tenacious D's "Pick of Destiny" soundtrack, the actor offset the goodwill he maintained via "Kung Fu Panda" and "Tropic Thunder" with such unloved comedies as "Year One," "Gulliver's Travels" and the painful-looking "The Big Year." Even without this celebrity context, Rize is a far cry from the off-the-cuff blast of the D's debut, with their rock/sex humor having grown mighty predictable and a running time too brief to justify the six-year wait. On the other hand, it's not a disaster, boasting some catchy numbers and even a few real classics such as this one, and at least they're honest about their movie having flopped.
13. Candlemass, "Siren Song" (Psalms for the Dead, Napalm) - Another old-time act supposedly releasing their final album, Swedish legends Candlemass have picked a curious time to call it quits in the studio. While not as weighty as 2009's Death Magic Doom, Psalms sees the band still refining its style with the addition of moody vintage keyboards. Since they hit a late-career stride a few years back after the addition of Solitude Aeternus frontman Robert Lowe (recently replaced by Abstrakt Algebra/Krux stalwart Mats Levén for live shows), it would be a shame to lose one of the few classic doom metal bands who are still making quality albums.
14. Ulver, "In the Past" (Childhood's End, Kscope) - After last year's disappointingly slight and wispy Wars of the Roses, it's actually a relief to hear Ulver sounding like a rock band again. I wouldn't have guessed a collection of covers by vintage psychedelic and garage rock acts would be this engaging, but the Norwegian chameleons chose a great mix of lesser-known cuts ranging from uptempo garage numbers to dreamy acid pillows. Some of the more famous subjects include The Byrds, Jefferson Airplane and The 13th Floor Elevators. This groovy tune was originally by We the People, although Ulver is covering The Chocolate Watchband's version.
15. Brendon Small, "On My Way" (Brendon Small's Galaktikon, self-released) - Released to coincide with the premiere of "Metalocalypse" season four, the debut solo album by the show's creator looks kinda like a Devin Townsend album, down to its jaunty sci-fi concept and Gene Hoglan on drums. Dethklok's streamlined melodic death can certainly be heard in the mix, but there is a hearty dose of prog/power metal and even some grungy bits to mark this as a less intense experience than Small's main meal ticket. Not essential, but a decent listen if you dig the guy's sense of songwriting and humor (the story is about an intergalactic superhero who has to save his ex-wife from his archnemesis).
16. Sin Fang, "Strange House" (Half Dreams, Morr) - Icelandic singer-songwriter Sindri Már Sigfússon, stage name Sin Fang, specializes in delicate, woozy indie pop embellished with intricate studio tricks that lend them a ghostly, cerebral quality. His latest EP offers more of the same pretty mood pieces heard on last year's Summer Echoes, songs that don't so much stick with you as float in from the ether and hover in your brain's pleasure zones.
17. Crystal Viper, "The Spell of Death" (Crimen Excepta, AFM) - Once in a while, I will check out a newer power metal band out of curiosity, as I used to be really into the style before the late '90s deluge diluted the talent pool. In this realm, Crystal Viper piqued my interest by hailing from Poland, featuring a female lead vocalist/guitarist and having an awesome name. The quartet doesn't lay waste to the competition on on their fourth album, as the songs are samey and stingy with compelling hooks, though I do appreciate the focus on driving metal over fluffy symphonics (they cover Vader!). And what Eurometal lover can't appreciate an ESL song title like "Hope is Gone, Here's New Law"?
18. The Shins, "Bait and Switch" (Port of Morrow, Columbia) - I will admit that I never listened to an entire Shins album before this comeback, just a few songs here and there, so I have no idea how it stacks up to the previous albums that made frontman James Mercer a collegiate hero. Port does sound like the work of a "mature" alt-pop outfit, professional and pleasant and incorporating a decent variety of tempos and styles (I was expecting jangly folk rock straight through). Not bad, although after several listens, it doesn't leave a lasting impression on me.
19. Ne Obliviscaris, "Xenoflux" (Portal of I, Code666) - Back in 2007, this Australian outfit made a splash on the web with a ridiculously advanced demo, but I totally forgot about them until I saw that this album was released. Purveying technical prog metal with an aggressive streak (they remind me of Into Eternity with more black metal influence and a full-time violinist), Ne Obliviscaris brought back all the songs from that demo for this belated full-length, but the new ones are lengthy and involved enough to absolve them from the need to have crafted more new material in the meantime.
20. Shining, "For My Demons" (Lots of Girls Gonna Get Hurt, Decca) - Hooray, this actually is a Katatonia cover! It's been a few years since I lost interest in Shining (this is the Swedish "depressive black metal" one, not the Norwegian one with the saxophone), as their records were starting to bore me and I have not felt like hanging myself since at least 2006. I really only checked this covers EP out because of this song. It's not an amazing version (Kvarforth's clean vocals are pretty shaky), but it's still nice to hear someone appreciating the Tonight's Decision era, when Katatonia was at a indie/goth zenith and, for the first but not only time, seemed to be decisively moving away from metal.
posted by SoulReaper at 11:59 PM
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