Post by funkenstein on Jan 24, 2006 16:13:49 GMT -5
Well, I'll give them one thing...they tried. I've never really been a fan of making noise soley to make noise, and this album is full of it (in more ways than one). I don't know if they're trying to mesmerize you with a wall of sound, but they just made me grit my teeth with the random crap that spewed out of the speaker. Generic fuzzed out guitar, generic fuzzed out vocals, random tempo changes (that many times didn't seem intentional), and really no driving spike of a back beat to pierce your brain with at all.
Most of the album kinda melds into one long, giant, festering train of poop. There's no real distinction between the songs, they all really sound the same with some minor variations. Whatever they happen to start out at or move on to, they all return to a slow dirge with whistling guitars and some heavily modulated weiner-man meaningfully mumbling into a microphone, which usually has a short, grind-flavored drum break immediately following. I could predict with some regularity where I was in a particular song by whether or not it was the dirge tempo. I suppose this could be a good sound track for some sort of freaky sex with a hard edged goth chick, but you'd have to rely on your own tempo, as the drummer probably couldn't keep a tight beat throughout a song if he had a gun to his penis.
Possibly this might be the audio of the song writer's decent into madness, but if that's the case, I can understand why people take drugs to keep the voices away. I would be taking heroic quantities of some sort of chemical with a name like Haleperiqualidoxinol that gave me flaming piles and grew an extra hand out of the center of my back, only to keep my life from sounding this bad. Here's a tip: variations on a theme only work if you have some VARIATION! AAAGH!! Listening through a few times on this album has got me starting the urge to rock back and forth in the corner, drooling like a fire hose and mumbling "No more music mommy, I'll be good, no more music mommy..." repeatedly.
I'd give you a breakdown of the album song by song, but there really isn't any point. Up until track fifteen, you really can't tell the songs apart in their crapulence. Then suddenly at track 15, Melody and Variation, it goes into this "spooky" bass heavy keyboard solo. In this song, it sounded like they keyboardist knew the location of only two or three keys, and thankfully was quite short. This was followed by a song, Coffin Birth, that sounded like a lounge act, but without any sort of redeeming cheeziness to balance it out. And the last track, Quiet Dignity II, sounded like the music track for a high school instructional film for an astronomy class entitled "The Depths of Outer Space, in No Particular Order".
All in all, you probably shouldn't waste your time with this album. That is you happen to like to down a few tabs of some good acid and purposely want to have a bad trip.
Overall grade: F+
Most of the album kinda melds into one long, giant, festering train of poop. There's no real distinction between the songs, they all really sound the same with some minor variations. Whatever they happen to start out at or move on to, they all return to a slow dirge with whistling guitars and some heavily modulated weiner-man meaningfully mumbling into a microphone, which usually has a short, grind-flavored drum break immediately following. I could predict with some regularity where I was in a particular song by whether or not it was the dirge tempo. I suppose this could be a good sound track for some sort of freaky sex with a hard edged goth chick, but you'd have to rely on your own tempo, as the drummer probably couldn't keep a tight beat throughout a song if he had a gun to his penis.
Possibly this might be the audio of the song writer's decent into madness, but if that's the case, I can understand why people take drugs to keep the voices away. I would be taking heroic quantities of some sort of chemical with a name like Haleperiqualidoxinol that gave me flaming piles and grew an extra hand out of the center of my back, only to keep my life from sounding this bad. Here's a tip: variations on a theme only work if you have some VARIATION! AAAGH!! Listening through a few times on this album has got me starting the urge to rock back and forth in the corner, drooling like a fire hose and mumbling "No more music mommy, I'll be good, no more music mommy..." repeatedly.
I'd give you a breakdown of the album song by song, but there really isn't any point. Up until track fifteen, you really can't tell the songs apart in their crapulence. Then suddenly at track 15, Melody and Variation, it goes into this "spooky" bass heavy keyboard solo. In this song, it sounded like they keyboardist knew the location of only two or three keys, and thankfully was quite short. This was followed by a song, Coffin Birth, that sounded like a lounge act, but without any sort of redeeming cheeziness to balance it out. And the last track, Quiet Dignity II, sounded like the music track for a high school instructional film for an astronomy class entitled "The Depths of Outer Space, in No Particular Order".
All in all, you probably shouldn't waste your time with this album. That is you happen to like to down a few tabs of some good acid and purposely want to have a bad trip.
Overall grade: F+
