We've all come to expect a certain level of brutality from TAS. With this album, however, I think we can all agree that they have outdone themselves, lyrically. The songs are dripping wet with existential nihilism, Anti-Christian views, and a general hatred for all existence.
It's the angry honesty of vocalist Vincent Bennett that has kept TAS fans coming back for more and while even I was borderline offended by some of the lyrics, I have to objectively say that this album definitely delivers in that respect.
Before I start with my review. A very informative read just as food for thought. There are 3 types of music listeners, sitters, seekers and standers:
1. Sitters do not actively seek out new music, they ‘sit back’ and let music come to them – usually through radio, TV and media. Their only exposure to music is through what others present to them. They have a strong preference for chart-topping music.
2.Seekers actively seek out music and are always adding to their collection. They may be into more underground and less popular genres. They may get recommendations from their friends, but often seek out music on their own.
3.Standers can be hostile towards new music. They tend to stick with their own collection of music, and don’t want to add to it. They are often afficionados or fans of ‘classic’ genres. “Standers are big believers in a canon of music that is perfect and unchallengeable as the standard of excellence in the form.” (Read this guy's full write up here)
'Vectorscan' is Amogh Symphony's third album. For many fans, it's Vishal J.Singh without his technical guitar chops, without complicated time signatures of Jim Richman and minus the extreme heaviness. There are complaints from the progressive metal fans because 'Vectorscan' is not what they were looking for, especially after 3 years of wait and patience. No. Not at all.
Amogh Symphony is back. Not just with a new Russian bandmate Andrey Sazonov, but also with Goregaon Brass Orchestra and a bunch of other new members including singers (sung by Vishal's mother Kasturi Singh with lyrics written by Vishal's Grandmother Labanya Prabha Nath), instrumentalists and engineers. It means it's not about a trio of Multi-Instrumentalists but an Orchestra. 'Vectorscan' is music made by Artists, for the listeners who are Artists. That's what the problem is in this conceptual 53 minutes 37 seconds long musical montage. It's almost impossible to believe that it's the same band, same guitarist, who gave us super technical progressive metal albums 'The Quantum Hack Code' and 'Abolishing the Obsolete System', which were way heavier than 'Vectorscan'. I've seen bad ratings popping up from fans of their old sound and it's not a disagreeable fact. One of the reasons is that people are doing wrong comparisons with 'Vectorscan'.
I've always felt that Monuments have been somewhat marginalised. Born from the ashes of Fellsilent which also gave birth to Tesseract with whom, alongside Periphery they toured in the now legendary League of Extraordinary Djentlemen tour of 2010, the band have been at the core of the Djent community from the beginning. Indeed guitarist John Browne makes up one third of the holy trinity of djentleman band leaders, the three guitarists who pioneered the sound to which this website is dedicated, graduating from online demos and experiments to full length releases and full time touring. Sadly, as Periphery was launched to stardom and Misha Mansoor was elevated to the position of guitar god by the greater metal community and while Tesseract have moved on to bigger and bigger things, culminating in this month's Sonisphere performance before an audience of thousands, Monuments have remained fairly obscure.
This was all set to change in 2012 with the release of Gnosis, the band's long awaited début full length. Beset by the bane of our community, the vocalist problem, the album took far longer to complete than fans had hoped but on release was well received. However, despite stand-out tracks like Doxa and The Uncollective, when compared to Tesseract's One and Periphery's self titled début, Gnosis felt unpolished and was clearly made by a band still trying to pin down it's sound.
Now with The Amanuensis Monuments have done it. If Gnosis was exploratory and raw, The Amanuensis is polished and confident. Better production, more fluid song-writing and a fantastic new vocalist have allowed the band to produce a record of which they should be proud.
June 2, 2014
- Bird’s Robe Records (Australia), CODE 7 (UK), Nightmare Records (USA), MBM (Europe)
In the present day and age, Australian heavy music never fails to impress. Or deliver. Or to blow minds. And on June 2nd, 2014, a new chapter opens. This legendary, Perth based outfit have been plying their world class trade since the late nineties, and this is their fifth album. Whilst certainly a big fan of their previous work, nothing could have prepared me for the musical wonder that is V.
I found Atherial through Bandcamp while searching for another band known as The Afterimage. I listened to their demo and was instantly blown away at how different their sound was. Clearly influenced by Meshuggah, Danza, Structures and many other Technical and Mathcore acts. But this band is different from any other one I have listened to.
Great tunes and great vibes. The music is surrounded by a positive vibe, pretty hard to describe but after listening to this music in the morning, you can't simply have a bad/sad day.
One of the cool aspects: the EP is definitely not a Misha-djenty centered release; each song was written by a different member.
It's not just a collective effort, it's also a good way to discover individual talent.
And, guess what? There are a lot of complementary talents here!
Aethere has managed to forge an extremely heavy, well-executed and beautiful mix of Technical Death Metal in the likes of Necrophagist or Beyond Creation and Djent. It feels like a journey, steamrolling down a mountain in the most brutal and relentless vessel one can dream of, crushing everything in its path and crumbling the landscape itself.
Southeast London metallers 'The Last Days Of Mankind' made their way onto the scene early this year and have already left their mark on the technical metal community with a constant update of their creative songs. These updates don't only show something new for them each time, but also something new for the technical metal scene as a whole.
Humanity’s Last Breath can be described as a hybrid of Vildhjarta’s atmospheric riffs, and The Acacia Strain's vocals circa 2006 – which, considering that Vildhjarta is practically the lovechild of Meshuggah and Opeth, is a pretty impressive and rare find.