| | Minsk Out Of A Center Which Is Neither Dead Nor Alive CD Minsk Discography of CDs
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Minsk lists its influences as ranging from '70s doom metal and prog rock all the way to cutting-edge '80s bands like Dead Can Dance. And on their 2006 release Out of a Center Which Is Neither Dead nor Alive, it all comes together for the band. The group -- which includes Tim Mead (vocals, synthesizers), Chris Bennett (guitar), Sanford Parker (bass, synthesizers), and Anthony Couri (drums) -- certainly brings to mind such challenging bands as Pelican at times. This may not come as much of a surprise when you realize that the group's bassist has also engineered a pair of Pelican EPs (2003's Pelican and Australasia). And like its friends in Pelican, Minsk is certainly a sucker for "the long song," as well as penning albums that are meant to be listened to in one extended sitting due to their influx of ever-shifting moods. Although the group has obvious roots in metal (as evidenced by tracks like "Narcotics and Dissecting Knives"), Minsk has plenty of tricks up its sleeve, such as the sonic hodgepodge "Holy Flower of the North Star" (a track custom-made for listening to on headphones). Unlike the majority of one-dimensional metal bands of the early 21st century, Minsk manages to be moody, atmospheric, and metallic on Out of a Center Which Is Neither Dead nor Alive. ~ Greg PratoThe Wire (p.62) - "What's most striking about this music is how adeptly it subverts or sidesteps Metal's traditional insistence on catharsis." Out Of A Center Which Is Neither Dead Nor Alive Music Minsk Out Of A Center Which Is Neither Dead Nor Alive Songs | 1. | Waging War on the Forevers |
| 2. | Narcotics and Dissecting Knives |
| 3. | Holy Flower of the North Star |
| 4. | Three Hours |
| 5. | Blood Letting and Forgetting |
| 6. | Wisp of Tow |
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Out Of A Center Which Is Neither Dead Nor Alive Music Review Purchase Out Of A Center Which Is Neither Dead Nor Alive CD To buy, Click on price to add to cart | Exodus Shovel Headed Kill Machine CD (2005)
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Funny how progressive metal pioneers Neurosis existed in a virtual creative vacuum for almost a decade before the similarly inventive Isis tapped into their musical teachings, expanded upon them, and, in turn, magically opened the floodgates for hundreds of other bands to materialize from the ether and begin weaving monumental trance epics of their own design. Naturally, as has always been the case with new trends in popular (and even not-so-popular) music, the hordes of faceless bandwagon-jumpers greatly outweighed the promising successors, which included Arkansas dirt-encrusted sound technicians Rwake, Chicago instrumental alchemists Pelican, and, for our purposes here, Ohio's magicians of sublime melancholy, Mouth of the Architect. For you see, although they construct imposing edifices out of agonized screams, grinding riffs, and thundering drums, Mouth of the Architect's most distinguishing talents lie in the sensitive assembly of atmospheric, melancholy passages. Their first album, Time & Withering, had already hinted as much, and their second, 2006's The Ties That Blind, confirms it -- just as soon as ten-minute opener "Baobab" interrupts its initial bout of fitful aggression ...
| | Swallow The Sun Morning Never Came CD (2005)
Out Of A Center Which Is Neither Dead Nor Alive music CDs
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Hailed as the veritable second coming by some doom enthusiasts, Finland sextet Swallow the Sun certainly made an impressive and immediate impact on a relatively dormant scene with their excellent 2005 debut Morning Never Came. Its dark and foreboding music drawn judiciously from pre-established elder death/doom statesmen such as My Dying Bride and Katatonia, the album's early standouts "Deadly Nightshade," "Out of this Gloomy Light," and "Swallow (Horror Pt. 1)" display a maturity that most new bands can only dream of. And with their inventive arrangements of twin guitar riffs and harmonies, synth backdrops and solo piano passages, and patient but insistent drumming, they show more than enough variety to keep the listener riveted no matter how slothful the pace and deliberate their unfolding. Vocalist Mikko Kotamäki rarely strays from his simple but effective death shrieks throughout, but proves himself perfectly capable of pulling off clean baritones and guttural chants when he chooses to on additional highlights like "Silence of the Womb" and the masterfully mournful "Hold This Woe." Really, Swallow the Sun never strikes out once in the space of these nine superlative ...
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Never mind System of a Down's irresistibly quirky Serj Tankian. If any heavy metal musician were picked to represent the musically adept but incurably goofy spirit of Frank Zappa, it would probably be gifted lunatic Devin Townsend, whose prolific and eclectic output -- not to mention blackened sense of humor -- over the course of a steadily lengthening career continues to amaze and confuse in equal quantities. Through those years, Strapping Young Lad, while ostensibly a "group," has served as the most common laboratory for Townsend's wacky solo experiments, but word is, studio album number four, 2005's fittingly named Alien, is their first true band effort. This is somewhat rather hard to ascertain, but there's no disputing the additional claim about the album constituting an exercise in catharsis, nor the fact that few bands choose song titles as descriptive of their contents as SYL. To wit, "Imperial" comprises Scandinavian-flavored black metal of earth-scorching intensity, the nearly unpronounceable "Skeksis" contains a suitably schizophrenic and disorienting art rock-metal cacophony, and "Shitstorm" offers, well, a sh*tstorm of unprecedented madness, ...
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