The Human Abstract: Review

The Human Abstract - Digital Veil

Grade: 4.5 - This is Nocturne on steroids, flying on a magic carpet between a serene wilderness and a thundering battlefield.

Label: eOne
Genre: Progressive Metal / Metalcore
Release Date: March 8th, 2010
Site(s): http://www.myspace.com/thehumanabstract

High Points: The return of A.J. Minette.
Low Point: The wanton desire of more tracks after those 37 minutes are over.

It's been over a month and a half since I wrote my On the Radar post about this bands imminent return, but that day has finally arrived. Ladies and gentleman, The Human Abstract are back, and they're back with a vengeance.

As I pointed out in my original post, fans of the group have often been split because of the differences between the bands debut album Nocturne and their sophomore release Midheaven following the departure of guitarist A.J. Minette. Regardless of where you may have found yourself as a fan of this group, Digital Veil will have you proclaiming your allegiance loudly and proudly.

I tried to find a simple way of describing this album to people who are familiar with THA, while also leaving it open to those who may not be so familiar with them. The easiest way I could do this was to do a stylistic comparison using their past work, and some kind of visual metaphor.

Whether it makes sense or not, Digital Veil can be summed up as: Nocturne on steroids, flying on a magic carpet between a serene wilderness and a thundering battlefield.

The Human Abstract have always been known for their eloquent use of the strings, head-manned by A.J. Minette's use of classical technique and forging melodies. If you've been a fan of the group since Nocturne then you'll be innately familiar with the blinding sweeps and guitar solos that you've grown familiar with over the years, because they're back in full force in Digital Veil.

But just as equally prominent are the thundering, hard charging rhythms, and breakdowns which also go a long way to accompany the performance of The Human Abstracts new vocalist Travis Richter. Vocally the album is much changed compared to the groups previous releases, but a change of pace that is both welcomed and well deserved.

Richter demonstrates his ability to cover a wide range, from deep low growls and screams, to clean vocals that fit the more melodious and calm areas of the album.

Fused together, the elements of Richter's vocals, the thunderous carnage of the groups more than capable core of stringsmen (Minette, Herrera and Selva) and the percussionistic (that's totally a word) proficiencies of drummer Brent Powell, help forge a sound that carries both familiarity, and a sense of renewal for a band that truly are virtuosos of their craft.

So what's the downside? Well the wanton desire to have more is the primary downside I've gotten from all of this. At eight tracks and 37 minutes in length, it's on average 3-4 tracks and 10 minutes shorter than their previous outings. But considering the album has been barely out for a day, and it's been near the top of my most wanted list for over a year, it's hard to judge. Especially when the final product meets expectations, and more.

The Human Abstract are currently on the Atticus Metal III Tour sharing the stage with As Blood Runs Black, in support of Born of Osiris and Darkest Hour.

And as always a parting gift, in the form of some Digital Veil:


Pull me... from the gallows... of this fiber-optic nation!

- J

The Contortionist: Review

The Contortionist - Exoplanet

Grade: 5 - No gymnastic feats, but feats nonetheless

Label: Good Fight Entertainment
Genre: Progressive Death Metal
Release Date: August 31, 2010
Site(s): http://www.myspace.com/thecontortionistband


High Points: Great blending of styles gives a unique vibe to each track.
Low Point: The fact that I missed this album in 2010.

My first contact with The Contortionist was when a friend of mine showed me their second EP, entitled Apparition, back in 2009. The seven track EP was quite the surprise and flooded my ear canals for quite some time.

Which is why I feel like a real turd burglar for having missed out on the fact that their debut album Exoplanet actually dropped this past August. Had I known this a couple weeks ago, it would have easily graced the top echelons of my Top 10 in 2010. So I figured the only way I could repent for this obvious sin was to throw up some sort of a Review of the album.

The Contortionist blend together core, death metal, progressive-jazz fusion and djenty goodness into something that when done incorrectly, you would expect to be an incoherent mishmash of discordance. The Contortionist however is yet another band that manages to blend each style together in ways that provide a unique sound experience from one track to the next. You'll find graceful melodies, technical fretwork, djentarific riffs, breakdowns and the kitchen sink.

While you'd expect non-stop face crushing destruction from how many of their tracks begin, you get treated to a wide range of transitions, from chuggy, meaty, bone crushing riffs, to melodic interludes with clean and pleasant vocals. The most important aspect of any group seeking to transition from one sound and style to the next is being able to do it seamlessly, a trait that The Contortionist clearly has down.

People familiar with The Contortionist prior to Exoplanet will recognize some familiarities and the return of the track Oscillator from the Apparition EP.

Stand-out tracks for me include the two opening tracks, Primal Directive and Flourish as well as track five, Advent. But I'm still acclimating myself to the overall awesomeness of the album to be able to say that any of the tracks truly destroy another - I'd rather just say the album destroys shit on it's own.

I'm not sure whether I should be more mad at the fact I didn't catch this album earlier in the year, or that none of my friends did either. Unless they didn't tell me... Fucking conspiracy!

Regardless I did come across a fine nugget of good news, in that The Contortionist will be playing in Ottawa in February - which I also only found out about, right now.

You can check out The Contortionist on their myspace, as linked above. Or better yet you can catch them on tour in a foxhole near you.

The Contortionist will be sharing the stage with Within the Ruins, Suffokate and Last Chance to Reason on February 17th at the Alexander CC in Ottawa. 

And of course, a small parting gift, in the form of some Primal Directive:


- J

2010 in the Rear-view: Jay's Musical Faves for Twenty-Ten

Almost everyone has already done it, and it always tends to cause some interesting discussions, but it's fun to take a look back at the year that was and try to compile a list of your favorite musical releases for the year.

The blog has been pretty vacant the past month, so in an attempt to breathe some life into the old girl (she's really not that old) I've compiled a list of my 10 Favorite Albums and 5 favorite EP's of 2010.

I hate trying to make lists because you always forget something and chances are by the time I put these up here I'll want to change some around. So for that reason I've also put a list of honorable mentions at the bottom.

You may have noticed the album art for Circle of Contempt's album Artifacts in Motion above. Released in November 2009, it obviously doesn't fit in a list of albums for 2010. But I will say it is the one album I've listened to the most this year - and for those who know me, considering some of the albums you'll see below, you might be slightly surprised by that.

So here goes nothing and it's going to get a bit long:

Jay's Top 10 Favorite LP's of 2010

10. Dimmu Borgir - Abrahadabra

I reviewed Dimmu's most recent release about two months ago, describing how the trio of Shagrath, Silenoz and Galder, together with a near 100 member orchestra, released their first album in three years and one of Dimmu's best works in the past decade.

Abrahadabra truly puts the emphasis on the Symphonic and provides a renewed vigor to the famous symphonic black metal practitioners.

Favorite Track: Gateways


9. After the Burial - In Dreams

While the overall sound of After the Burial's most recent release is a slight change of pace from their previous release (Rareform), it was a welcome one. The music is technical, and both melodic and powerful. The vocals are excellent and the production quality of the album is truly excellent. In Dreams was an album I was hotly anticipating and came along providing me with some much needed inspiration during some particular moments during the past month.

Favorite Track: To Carry You Away


8. I The Breather - These Are My Sins

Prior to listening to I The Breather's first full-length, I had only heard snippets of their work. Their album was released only a few short weeks ago, but managed to impress me enough to both make my top 10 list for 2010, but to also surpass a slew of albums that I hadn't anticipated that it would.

The groups first album provides plenty of furious fretwork, chuggy breakdowns and some lovely, meaty djentings.

Favorite Tracks: High Rise & Doomsday

7. Kylesa - Spiral Shadow

Sludge Metal has always been one of my favorite genres of metal. Kylesa is a group I've known for years and remains in my top 3 along with Mastodon and Baroness. Kylesa's most recent work is truly a step up and a standout album in 2010 for many reviewers and metal fans alike. My personal description for Spiral Shadow is a blend of Priestess meets Mastodon and Baroness, and anyone who knows the sounds of those three groups should instantly know how good this album sounds.

Favorite Tracks: Spiral Shadow & Tired Climb


6. Dillinger Escape Plan - Option Paralysis

There's not really much that you can say negatively about the pioneers of Mathcore, especially when with their fourth release they continue to provide the same dynamic mix of technicality, brutality and discord that they are now infamous for. Option Paralysis is DEP's first release in three years and continues to push the bar in terms of the talent that these guys continue to bring to the scene.

Favorite Tracks: Gold Teeth On A Bum & Farewell, Mona Lisa



5. Deftones - Diamond Eyes

The past few years have been difficult for Deftones with bassist Chi Cheng's car accident in 2008 which has resulted in him being in a coma, and the decision to indefinitely delay their sixth album Eros. This year however, Diamond Eyes was released and provided plenty of nostalgia worthy Deftones quality and excellent tracks from start to finish. Their newest release is both refreshing and a great kickback, with tracks sounding familiar to some of their earliest recordings.

Favorite Tracks: Rocket Skates & CMND/CTRL


4. Veil of Maya - [id]

One of the bands I've lauded the most since the spawning of this blog, Veil of Maya released their third album this year. [id] continues to provide the same quality technical, prog death metal sounds that was prominent on The Common Man's Collapse. I was lucky enough to see VoM twice this year and their performance and sound quality is just as great, if not better, live. This is an album that any true prog/death metal fan should not miss.

Favorite Tracks: Unbreakable & Namaste


3. Cloudkicker - Beacons

Ben Sharp has only recently stepped out of the veil of mystery to give some interviews to the likes of Metal Injection and others. Better known as Cloudkicker this one man outfit has continued to provide listeners with intriguing, technical and high quality instrumental works over the past two years. Best of all his work is all free, and now pay what you please. Sharp is one of those rare individuals who truly makes music purely out of a love and enjoyment for it, and it shows.

Favorite Tracks: We're goin' in; we're going down & Amy I love you


2. Periphery - Self-Titled

I know a few people who will probably shit a brick when they see Periphery's self titled debut album at no. 2 on my list, but the decision wasn't simple. Misha Mansoor, and company finally released their hotly anticipated debut album this Spring, showcasing tunes familiar to longtime fans. One of the most recognizeable groups in the Djent circuit, Periphery showcases their talents on each and every track they play, with ludicrous riffs and flawless drumming by Matt Halpern to set the standard.

Favorite Tracks: Racecar, Jetpacks Was Yes! & Icarus Lives


1. The Ocean - Heliocentric / Anthropocentric

Some people would say that including two albums as a number one would be cheating, but in this case it happens to be two phenomenal albums released by the same band.  

The Ocean released their magnum opus Heliocentric and Anthropocentric in 2010, nine months apart. While both albums can be taken in separately, they are both linked and according to the group represent a fundamental and philosophical critique of Christianity, with many central themes prevalent throughout each record.

The double album is The Ocean's first release in three years, since Precambrian and is without any other real way to describe it: a masterpiece. The music is both powerful, moving and unrestrained, and the way the themes are conveyed from one track to the next makes for a very remarkable listening experience. I could easily give away my personal top honors to different groups on this list, but The Ocean are the most deserving by far.

Favorite Tracks (H): The Origin of Species & The Origin of God
Favorite Tracks (A): The Grand Inquistior II & Heaven TV

Honorable Mentions

Ihsahn - After
Parkway Drive - Deep Blue
Tony Danza Tapdance Extravaganza - Danza III: The Series of Unfortunate Events
Soilwork - The Panic broadcast
Decrepit Birth - Polarity
Nachtmystium - Addicts
Blind Guardian - At the Edge of Time
Bison B.C. - Dark Ages
Fear Factory - Mechanize
The Sword - Warp Riders
ONAN - Hell is Other People

Now for a glance over some of my favorite, somewhat shorter releases of the year.

Jay's Top 5 Favorite EP's of 2010

5. Tight Rope - The Infinite Being

Hailing from Boston, MA Tight Rope quickly caught my attention when a friend of mine suggested one of their tracks to me. A strong EP from a talented outfit, The Infinit Being showcases some solid and meaty guitar work, and equally strong vocals by Eric Lee.

Favorit Tracks: Legion Atrophic & Ascendance


4. Cloudkicker - A New Heavenly Body (a.k.a. ]]][[[ )

Originally released in early 2010, the EP simply entitled ]]][[[ was re-released by Ben Sharp nearly a month ago, sporting improved sound quality. The slightly improved sound quality (which was already high to begin with) was not the only change. The EP gained a new title, and each track also finally gained a title, having originally been titled #, % and $, respectively.

Favorite Track: What It Is Impossible Not to Know and What It Is No Longer Permissible To Believe in the United States (a.k.a. #)

3. Structures - All of the Above

Hailing from Toronto, Structures is a group I've showcased on the Blaarg before. They've played a variety of shows in Ottawa over the past year, including a headlining performance two weeks ago, and the first time I encountered them, opening for Periphery in April. Their debut EP is powerful and a great foot into the door. This is a band that is definitely going places.

Favorite Tracks: Transitions & Encounter...

2. Volumes - The Concept of Dreaming

Volumes released their debut EP in mid-November, and after catching a few of their tracks early in the summer, it was a release that I was looking forward to. Combining elements of metalcore and groove metal with some fine djentings, and two strong vocalists, The Concept of Dreaming was a pleasant (and brutal) surprise to cap off the year that was.

Favorite Tracks: Intake & Wormholes 



1. TesseracT - Concealing Fate

It may not be the full-length album that fans of TesseracT have been getting antsy for over the past year, but the group did at least finally release something to appease the masses. Concealing Fate is TesseracT's six part masterpiece, finally dispelling question of what parts three through six would actually sound like. The groups debut album One is scheduled to be released in 2011 - leaving a lot of fans skeptical but at least now hopeful, as the band has been signed by Century Media.

Favorite Track: The whole damned EP.


My apologies for the absolutely ridiculous length of this post, but hopefully it gives some people some quality music to not only check out, but enjoy - assuming they haven't already. And that would mean they just need to bust out the jams once again.

And so concludes Jay's first Year in Review, Music Edition. Keep on the lookout for some more new garbage to hit the Blaarg in the coming days/weeks.

- J

Dimmu Borgir: Review

And finally Review number 3/3 of Review Round-up Edition One.

Dimmu Borgir - Abrahadabra

Grade: 4.0 - Putting the emphasis on Symphonic
Label: Nuclear Blast
Genre: Symphonic Black Metal
Release Date: October 12, 2010
Site(s): http://site.dimmu-borgir.com/ | http://www.myspace.com/dimmuborgir

High Points: High budget, high quality orchestrations.
Low Point: Beyond ridiculous wardrobe choices and no Simen (Vortex) backing vocals.

Shagrath and Silenoz, the two mainstay and remaining original members of Dimmu Borgir have returned, once again with Galder (Old Man's Child) in tow for they're first album release in three years. Abrahadabra is also the first album released by the band since the departure of former bassist and clean vocalist Simen Hestnæs (ICS Vortex).

To give a bit of historical perspective, Dimmu Borgir has been recording albums since the early 90's and Abrahadabra is in fact their ninth studio album. Despite always being a Symphonic Black Metal band, this album also represents the greatest leap forward that the band has made in years, if you take the symphonic aspect into focus. Shagrath has indicated that the choice of using a single word title for the album, rather than their previous standard of three word titles, was a decision used to emphasize the changes they have gone through and a step towards the future.

I used to listen to Dimmu Borgir in high school and was familiar enough with their last three releases, however many have been quick to judge that those three albums showed little growth within the band, in between each as a whole, despite being overall solid pieces of work.

Dimmu Borgir's former keyboardist, Mustis, left the group a year ago alongside Vortex. He claims his main reason for leaving the group was because he did not receive the credit he deserved, since he claimed to have written all the music in the group. Whether you actually believe that claim or not is one thing, but if you compare their last three releases (Puritannical Euprhoric Misanthropia, Death Cult Armageddon and In Sorte Diaboli) versus Abrahadabra, you can definitely see many differences. But these are all for the better.

Why? Despite former orchestrations sounding pretty well done, Dimmu Borgir has hired a professional orchestra and choir to record the orchestral sections of their album, a member tally nearing 100 members in total. This fact, which may seem like a moot point to some - they are after all Symphonic metal - is really what makes or breaks this album. And I can tell you, it definitely makes it.

The orchestrations and vocals throughout the album are for lack of a better word, stellar. Songs like Gateways, Dimmu Borgir, and Endings and Continuations truly shine in that regard. Galder's riffage is also kicking ass and taking names, per usual, as he does often with Old Man's Child.

So what's not so great? People used to the old school style of Dimmu Borgir will be, a bit surprised with the changes, especially if your favorite Dimmu happens to be very early in their career. Vocally the album sounds like the Dimmu of old, with Shagrath at the helm, however any real fan can tell you it's missing the clean vocals of Vortex, which would truly put it one notch higher. No criticism to the clean vocals on the album however, the female clean vocals on Gateway in particular are extremely well done.

Dimmu Borgir will be beginning their North American tour on November 5th with Enslaved, Blood Red Throne and Dawn of Ashes. For the locals, the tour will be passing through Toronto and Montreal on December 12th and 13th respectively.

- J

Bring Me the Horizon: Review

Bring Me the Horizon - There Is a Hell Believe Me I've Seen It, There Is a Heaven Let's Keep It a Secret

Grade: 3.5 - Putting the emphasis on Symphonic
Label: Nuclear Blast
Genre: Symphonic Black Metal
Release Date: October 4, 2010
Site(s): http://www.myspace.com/bmth

High Points: Big musical improvement, LIGHTS providing guest clean vocals.
Low Point: Oliver Sykes is still really annoying.

Bring Me the Horizon recently released their third album and once again, their sound has changed, quite a bit.

Their first album, Count Your Blessings, was by all accounts a bread and butter Deathcore album and nothing to special. Their sophomore album, Suicide Season, saw a change to a more straight Metalcore sound and approach, with a larger and improved focus on meaty riffs and chunky breakdowns.

Their newest release, which I'll just refer to as Heaven and Hell, follows suit with their change of pace but kicks it up a notch musically. This album has a weird personality, to put it plainly. Songs which make you want to get up and break something often find themselves being followed by ones which are very melodic and at times 'mellow', in a partial sense. The easiest example I can give is the difference in between the tracks Fuck and Don't Go, the latter featuring guest vocals by LIGHTS, which honestly surprised the crap out of me - in a good way, she has a stellar voice, plus she's Canadian.

Bring Me the Horizon chose the song It Never Ends to be their first single, releasing a video for the song as well, a couple weeks prior to the album's release. Listen to a couple tracks from Suicide Season and then listen to this song and you'll see what I'm talking about when I mention musical progression. But don't take this negatively, the musical progression of the band is huge and I actually enjoy the majority of the album quite a bit.

So if you actually really kinda like this album, why the 3.5 and not a 4.0? Well, this is where I'll be blunt and honest, although I pointed it out at the beginning of the review: Oliver Sykes annoys the crap out of me, 85% of the time. I've heard vocals from a wide range of vocalists and in every genre known in the Milky Way, but there's just something about Oliver that, well, nails on chalk board - not all the time, but it's a deal breaker at times.

If you've never listened to BMTH before, I would suggest you check out a few of their older tracks, such as Chelsea Smile and The Comedown and then venture into this record.

Or you can throw that suggestion aside and listen to this record first, since it definitely is their best.

Bring Me the Horizon is headlining this Fall's AP Tour alongside August Burns Red and will be in Toronto and Montreal on November 21st and 22nd respectively. I would definitely go to that show purely to see ABR, but with this amount of musical improvement, I'd now consider seeing BMTH as being a decent bonus.

- J

Conducting From the Grave: Review

Conducting From the Grave - Revenants

Grade: 4.0 - Another staple in Sumerian's superb stable of bands
Label: Sumerian Records

Genre: Melodic Death Metal / Metalcore
Release Date: October 26, 2010
Site(s): http://www.myspace.com/conductingfromthegrave

High Points: Excellent vocals and the final two-part track.
Low Point: Realizing they're not on tour in Canada.

I first came across Conducting From the Grave when they released their debut album (When Legends Become Dust) through Sumerian Records back in 2009 and needless to say they piqued my interest.

Conducting From the Grave weave elements of melodic death metal, thrash and hardcore together to create, not necessarily a unique metal experience, but rather and most importantly, an enjoyable one. The vocals of Mikey Powell in particular are excellent and flow seamlessly with both the hard charging nature of their tracks, but also with the excellent melodic sections.

The final tracks of the album, What Monsters We Have Become Part 1 & 2 do the greatest justice to this, blending both main elements of their style with a skill that befits them. The breakdown featured in Part 1 and the guitar solo in Part 2 are most definitely, fused together, the highest point of the album, providing a great send off to their sophomore album.

Sumerian is probably my favorite record label at this specific moment in time. Their list of signed bands counts some of the best bands of their respective genres, including names such as: Born of Osiris, Periphery, Veil of Maya, After the Burial and The Faceless. Conducting From the Grave, has now deservedly earned themselves a place amongst them, proving once again just how huge the depth of talent extends into Sumerian's roster.

Conducting From the Grave are on tour in the US, until December, in support of Arsis, alongside another excellent band in Powerglove.

If you're a fan of Sumerian's signed artists, you should do yourself a favor and check them out, post haste. And even if you aren't, you shan't be disappointed.

- J

Review Round-up Edition 1: Music for the Win

It's been a while since I talked about one of my favorite things: Music. Likewise, it's been a while since I've thrown up any info and/or reviews on recent albums that have dropped from the sky.

Well today is the day to remedy that, seeing as how I've had time to fly through some recent material - and some old favorites all at the same time. I'll have more details on my nostalgia moment later in the weekend, in the first installation of what I'll be entitling Blast From the Past.

In the meantime, while I actually write-up these reviews I've been mentioning, I should probably take the time to actually setup some fashion of a rating system. I've only literally reviewed one album previously on the Blaarg and I'm not sure using Brutalisks from Starcraft will serve as useful grading mechanism, except in certain cases.

So for future reference here's how my Reviews will go down, and I even made an example for you fine folks:

E.g.

4.5 Ishmael's

Mastodon - Leviathan

Grade: 4.5 - The quintessential prog metal adaptation of Moby Dick
Label: Relapse
Release Date: August 31, 2004
Site(s): http://www.mastodonrocks.com/ | http://www.myspace.com/mastodon
High Point: All 13m 40s of Hearts Alive.
Low Point: It actually ends.

[Insert Clearly Amazing Review text here]

And here's how the album grading system is going to work:

Jay's Official Album Review Grading System of Doom 

5.0 - Best thing since sliced bread (Perfect)

4.5 - Instant Classic (Excellent)
4.0 - Groovy! (Great)
3.5 - Well Played (Very Good)
3.0 - I Can Dig It (Good)
2.5 - Alright (Average)
2.0 - Meh (Disappointing)
1.5 - Uninspiring (Bad)
1.0 - Are They Even Trying? (Embarrassing)
0.5 - Flaming Heap (Generally Awful)
0.0 - Musical Abortion (Absolute Garbage)

I'll tag the grading system on the side of the blog for easy reference and when I get around to it add a Reviews page, which will catalog any reviews I make appear.

It's like, Magic. OK, time to write these reviews for real.

- J

Giving the Strain a Second Chance: Wormwood

My first encounter with The Acacia Strain was not very enjoyable. I hadn't heard too much from them before, despite the fact they've been on the scene for nearly a decade. That was over a year ago and as much as can be expected, I hadn't listened to nearly anything from their camp since.

That changed this past week when I decided to give their newest album Wormwood a chance - at the behest of one of my friends who very rarely steers me wrong. He passed me his copy of the album and I gave it a run through later that day.

As soon as the first track on the album broke open I noticed that familiar, slow and 'sludgy' tone and once again I had my doubts - for about a track or two. I had admittedly only heard a handful of their songs in the past and the live performance I witnessed left much to be desired - but Wormwood was starting to give me a reason to wipe the slate clean.

It took a few tracks for me to get into the groove (as I've surrounded myself with certain types of bands recently) but as soon as it kicked in I got a kick of old school nostalgia - and that feeling like you want to just break something, in a good way. 

The Acacia Strain employ slow but powerful rhythms along with dark and brutal lyrics that fit nearly perfectly together. After going through some of their older material you can spot some of the technical evolution and improvements they've made to their music - without taking away from their intrinsic brutal style.

Tracks like BTM FDR and The Hills Have Eyes showcase the Strain's core elements, while tracks like Jonestown and The Impaler give a better look at the bands technical style. 

I suppose this will need some type of scoring grade and since I'm playing StarCraft:  

4/5 Brutalisks. Serious business as always.