Giant Squid - Metridium Field

I don't want you guys to think I'm making... let's call them... easy reviews... but here is another one of the albums i consider to be "The albums". The third in a row, yes, I know.

Giant Squid was formed in California, 2002. Their style is a mix between Post-Metal, Doom, with lots of orchestral and jazzy characteristics; a unique band. I don't know much about this band's history (I've only come in contact with their wonderful music a short time ago), so I'll have to go to Wikipedia on this band's formation. The band has been through many changes in it's lineup. They have had around different 5 drummers, 5 keyboardists, 3 guitarists, and a trumpetist. All this since 2001.
Their discography I'm familiar with, though. They released the "Revolution in the Water / Ampullae of Lorenzini" EP, at that time going by the name Namor. As Giant Squid, they've since released: "Metridium Field" (2004), "Monster in the Creek EP" (2005) (these two last were released by their own label, Tyrannosaurus Records). In 2006, "Metridium Field" was rethough, re-recorded, and re-released - it's definitive version, the one I will review today. In 2007 Giant Squid recorded a split album with Grayceon 7", and this year (2009), they released their latest album, "The Ichthyologist".
The actual lineup is formed by: Aaron Goldberb (lead vocals, guitar), Jackie Gratz (cello, vocals), Chris Lyman (drums), Cory Tozer (guitar), and Bryan Beeson (bass).

In "Metridium Field" all the songs were made to fit eachother, so I'll try and follow that logic (this will probably be a very long review), but it is innevitable to talk about all the tracks, as this album is a whole piece - it could probably even be only one song, really. The opening track, "Megaptera in the Delta" sounds like you are submerged underwater and there is a giant, slow, non-too-happy monster coming toward you and passing you by. And it is , basicly, an opening track for "Neonate".
The amazing second track starts off with a very heavy guitar intro which kind of reminds me of Sleep, followed by what resembles a short sample of what the trumpet of Apocalipse must sound like. The second heavy riff comes on along with a Moog keyboard, and what I think these days is that any other band in the world would make that combination, in this case, sound cheesy, but Giant Squid made it sound completely perfect!
The lyrics, reminded me of the opening track for Van Der Graaf Generator's album "H to He Who Am the Only One" (an album I love and which I'll likely review), a track named "Killer". Here go some of the lyrics to the track "Neonate", if you know Van Der Graaf you'll know what I'm talking about:

You're free from your womb now,
But this maternity ward is a feeding ground;
Don't look back for ages,
Your mother's toothy smile can smell you for miles.

(...)

You too will eat your young,
When there's only enough for one,
In times of need this must be done

(...)

... on the second verse, Aurellie's (Aaron Goldberg's ex-wife) vocals come in following the keyboard melody, and it sounds haunting, kinda like what I imagine a Syren should sound like (I'll get to it in the next track). A part of heavyness and screamed vocals comes after. Then, when I already thought I had stumbled upon a very different sound, a banjo kicks in, then followed by wierd keyboard sound (maybe even a Theremin?, i can't identify it), and then a trumped, making the part sound like a wierd, experimental, jazz band. And then i knew i had stumbled a completely different sound from everything i ever heard before. "Neonate" was the first song I ever heard from them, and I'm still in love with it.
"Versus the Syren", an epic track, comes after. The keyboard intro, resembling a Church Organ is followed by drums which give this song a very jazzy feel all through it's duration, followed by a beautiful guitar and a different keyboard melody. Aurellie's Syren-like vocals are accompained by Aaron's voice (the later kind of sound like Neurosis' Scott Kelly's vocals). This a bold statement, but it reminds me of the "Neurosis & Jarboe" (Self-titled) album at times. There, I said it. The song goes through a fantastic heavyness-filled part, ending with a sad soaring of a trumpet, (sorry about so many "this remind me's", but...), kinda reminding me of King Crimson's trumpet playing on the album "Islands", giving way to "Ampullae of Lorenzini".
To me, this track is probably the most emotional of the album. The crescendo was definitly very well-developed. Starts off with drums, then Aaron's haunting, low-pitched vocals come in, followed by a emotionally-crushing riff. Aurellie's vocals are also featured in this track. Those who are into heavy, emotional music will love this track.
I will leave here said that the lyrical content in this album are not the most, let's say, poetical... but the lyrics are definitely good and fit the songs beautifully, without exception.
"Summit" is the fifth track. I can't say much about this track, except that it is the "softest" track in the record, though it ends a bit more heavily then the way it begun. I really like it. It starts with a weather report broadcast. As I said before, everything works toward everything in this album. And even this broadcast feels essential for the song! I had never heard anything like it, to tell you the truth. I couldn't listen, for some mystical reason, to this track again without it!... And it has the best lyrics in the album, to me, by far. Very very beautiful and very moving track.

Waiting for the sun to burn away the season,
Revealing the place we called home,
Built by our blood and our blood alone
We will find our summit again.

(...)

Soon will come the winter's end,
We will find our summit again.
It will take more than the snow,
To bury all that you have known.

"Eating Machine" is an opening track for the song "Revolution on the Water". It is similar to "Megaptera in the Delta", except it has an effect-processed human voice over the sound of the beastly sounds.
"Revolution in the Water" is the heaviest track on the record. The drums are beautiful and extremely effective, and they open the track, which is mainly driven by drums and bass. The cello is also amazing in this track, and what impressed me the most was, towards the middle of the track, Jackie Gratz also starts screaming almost like Black Metal vocals, fitting the song really well, even though I'm definitely not a fan of those kind of vocals really, creating a sort of a counterpoint with Aurellie's vocals which came before in the record. If Aurellie's vocals were those of a Syren, then Jackie's are those of an angry Harpy. But both their vocals are featured together on the second epic 21 minute song which comes next, and which finishes the album.
"Metridium Field" is that epic 21 song, which I would say is to this record as "Hearts Alive" is the closure to Mastodon's album "Leviathan" (2004) (also an epic track). It starts with a clean guitar and then builds and builds up, toward ending the album majestically. Although Aaron sings on this one, the "girl section" is the most proeminent in it, counterpointing almost-Black-Metal vocals with Aurellie's clean vocals. Anyway, the vocals are only a short part, only used in the middle of the song of this epic track, which you will have to invest yourself into to feel the intensity of it.

When you have some free time on your hands, listen to this album. It's perfect. How rare it is for you to finish listening an album and feel like there was not a single thing missing in it?... Well, this is The One.

My rating of this album - 5.0 / 5.0


Some of their songs:

"Neonate" (in the Album "Metridium Fields"):



"Versus the Syren" - (in the album "Metridium Field"):



"Neonate" (Live, opening for Isis, 2006):

King Crimson - In the Court of the Crimson King

King Crimson, an English band formed by the guitarist Robert Fripp and the drummer Michael Giles. Since the lineup has gone through so many changes (18 different musicians and two lyricists since it's formation, in 1969), it would almost require a dedicated biographer to actually write the history of the band. So i'll just stick to the original lineup. The formation of geniuses which recorded this historical record - a record with 5 tracks which altered he course of music since it's release - Robert Fripp (guitar - probably my favorite guitarist of all time), Greg Lake (bass and lead vocals), Michael Giles (drums, percussion, and backup vocals), Ian McDonald (keyboards, vibes, backup vocals, and woodwind instruments), and Peter Sinfeld who did not play an instrument in the record, but wrote the beautiful lyrics for this and other King Crimson albums (until Larks Tongues in Aspic).

I first heard this record when lent to me by an old philosophy teacher of mine and friend of mine. From the moment I put the CD in the drive, I was in bliss!... the first track, "21st Century Schizoid Man", started after about 25 seconds of what sounded like a train in the distance, closing in slowly and I immediately found to be a perfect intro, not only for the song, but for the album, and for the band, it sounded like something big was coming. And it really was. What i first noticed was how immaculate and creative the drumming was. As I finished listening to the album for the first time, it became my favorite drumming album of all time. By far. Though the guitars and the saxophone screamed for mercy in that song, powerful, strong, visceral, what really captivated me right away was the rythm section. "21st Century Schizoid Man" has a part which is called "Mirrors", which consists, basicly, of an instrumental part, in which bass and drums that the lead (although Ian McDonald's kickass saxophone is following them as well), in which both the instruments seem to battle each other constructively, and immediately you realize about the uncanny brilliance of the rythm section you are listening to.
"I Talk to the Wind" comes after, and it's one of the both saddest and most beautiful melodies I have ever heard. Peter Sinfeld's lyrics fit the feeling, harmony, melody of the song perfectly. A very soft, gloomy, yet full drumming sound. The high point of it, to me, is the woodwind section - a transcendentaly beautiful melody. And when you think the song is going to end (as you're listening to it for the first time), it comes back with both a stronger and faster drumming and woodwind section, ending majesticly.
"Epitaph", the first song where they use the Mellotron keyboard (a very innovative instrument at the time). It creates an immense orchestral sound, as if you actually had a full orchestra behind you. However, the high point of the Mellotron use, to me, is the track "In the Court of the Crimson King". We'll get to it in a while. The strenght in this song, lies in the power full meaning on the lyrics, and the strenght and emotion with which they are sung, lyrics such as:

(...)

Knowledge is a deadly friend
If no-one sets the rules.
The fate of all mankind i see
Is in the hands of fools.

(...)

Then comes "Moonchild", a completely experimental track, which is not quite likable in the first or first few listenings, but it grows on you as you unravel the that strange sense of wierd musicality behind it, the genius behind actually being able to play such a thing. A very peaceful song. One of the most beautiful guitar tones ever recorded, to my ears.
The closing track, "In the Court of the Crimson King", is the culminating point of the album. And, to me, is one of the epitomes of what great music is, what it should be. Everything in this track is completely perfect. A brief drum intro followed by the orchestral sound of McDonald's Mellotron keyboard, it hits you in the guts like a brick of walls, you are forced to feel it, to be immersed in the beauty and painful emotions behind the music. The lyrics are written and sung beautifuly, the drums complement everything in a perfect way. Everything is simply perfect. There's even a bit of experimentationin it, particularly in the last part of it; experimental but completely musical, which is a rare thing to be able to achieve.

This is, i must say it again, one of THE records, and no collection of any music lover could ever be complete without it. Simply perfect. This is what music should be: undescribable. Listen to it. It will change you.

My rating of this album: an innevitable - 5.0 / 5.0.


King Crimson songs:

"Epitaph" (in the album "In the Court of the Crimson King"):



"In the Wake of Poseidon" (in the album "In the Wake of Poseidon"):



Robert Fripp (live improvisation for TV):

Neurosis - Times of Grace

One of the bands that had the biggest influence on me, Neurosis were founded in California in the year of 1985 by the guitarist Scott Kelly and bassist Dave Edwardson. Initally, a Crust Punk band (most notably in their "Pain of Mind EP" (1987) and "The Words as Law" (1989)), Neurosis evolved and suffered style changes, which lead to, after the release of "Souls at Zero" (1992), and "Enemy of the Sun" (1993), being credited as the founders of the Post-Metal genre; genre in which, to this day, though their sound has suffered as if metamorphosis from album to album, the band is still inserted in. If it is you can label Neurosis. They can go from Sludge, to Experimental, to Folk Doom, to Post-Metal, within each album, sometimes even within the very songs; examples of this can be found in the songs "Stones From the Sky", "Away", and others. Neurosis are their own music genre, one of the few bands which is completely unique and true to itself, making completely self-centered music - music for themselves - not making a living out of music, all of the band members working full-time jobs. All of the band members have solo/side-projects which are totally worth checking out, such as Red Sparowes and Blood & Time, projects which i'm very into and will definitly review in here one day. They credit influences by bands such as Joy Division, King Crimson, Amebix, Jimi Hendrix, and even the country musician Hank Williams.

Neurosis are formed by Scott Kelly (guitar, vocals), Steve Von Till (guitar, vocals, percussion), Dave Edwardson (bass, synthetizer, keyboard), Noah Landis (keyboard, organ, piano, samples), Jason Roeder (drums), and Josh Graham. Scott Kelly and Steve Von Till write the most part of the lyrics. Josh Graham does not play an instrument in Neurosis, but is instead a visual artist for the band, working on the album covers, videos, and the amazing live visuals, which play a huge part of the apolitic mammoth which is Neurosis when playing live. Though I never saw them live in person (it is one of the bands I cannot die without seeying live), Neurosis is my favorite live act, delivering bone-crushing volumes, yet retaining the clarity of each instrument, and bestowing the shows with so much emotion that it seems that they BECOME the music they're playing, impersonating it. If you catch a chance to see them live, don't think twice. Actually, don't think twice, just jump on the wagon!!

About this particular album - "Times of Grace" was released in 1999, and was immediately acclaimed by many critics, listeners, and musicians as their best work ever, title which, to many (and i'm inclined to agree), it still maintains. Troy Sanders (bass and vocals for the band Mastodon), quotes Times of Grace as his favorite record.
While in "Souls at Zero", "Enemy of the Sun", and "Through Silver in Blood" (1996) the band had created a sound which was extremely full, at times almost "overloaded", "Times of Grace" was recorded with a simpler, more minimalist approach, as if trying to filter the very essence of the music, emotion, and the true tonality of the band's instruments/equipment, which, still mantaining alot of textures and some underlaying samples, made the sound clearer. Steve Albini, who first worked with Neurosis from "Times of Grace" to this day, played an important part of this stripping down of the sound, adding his philosophy, which is making the band sound on record exactly as they do on studio, with no adulteration of the final product, to this newly-found (at the time) "less is more" approach by the band, which they adopted from "Times of Grace" on.
Possibly their heaviest album (still to this day i believe "The Last You'll Know" is probably the heaviest song ever written), and one of the heaviest albums in the history of music (many say the heaviest, but i can't really make a statement about that, it's just a territory which is too vast and even subjective), it also counts with calmer parts, including piano parts (as heard, for example, on the song "Away"), and Scott Kelly (I believe) making his guitar sounding like a Bagpipe, as heard on the amazing closing track "The Road to Sovereignty".
Another important thing to mention, that began to be more noticed from this album on, was the creation of environments and musical ambiences that ascend progressively to more grandious moments. That had happened on "Through Silver in Blood" quite a bit as well, but in this album, to me, those ascendings were much more well thought of and developed and were more effective in the deliverance of those bone-crushing, epic moments the band is know by to be able to achieve like no oterh.
Dave Edwardson's grunty vocals are less proeminent in this record, and from this record on. Also his basslines became in most part less of leading basslines to adopt a more supportive approach, though still letting everyone know "who the Boss is" when listening to his blistering lines and dirty, grindy, tone, as heard on the intro of "Belief".
What also suffered a considerable evolution were - from the mystical, at times quite incoherent lyrics of the previous album "Through Silver in Blood" - becoming more mature and meaningful, though they have been maturing in that area over time, being, to me, their three latest releases "Given to the Rising" (2007), "A Sun That Never Sets" (2001), and "The Eye of Every Storm" (2004) the ones with better lyrics. Yes, i do give much importance to lyrics.

Bottom line, I consider this record essential to any music lover, in particular the fans of heavy music. It opened many doors to me. You will probably hear me saying this from time to time - but this is one of THE albums. Irreprehensible.

My rating of this album - 5.0 / 5.0


Some Neurosis songs:

"The Last You'll Know" (in the album "Times of Grace"):



"Stones From the Sky" (in the album "A Sun That Never Sets"):



"Locust Star" (Live in Ozzfest '96) (in the album "Through Silver in Blood"):

Nick Drake - Time of no Reply EP

What better way to start off this blog, then with one of the greatest musical artists of our time (and all time, for as long as I'm concerned), though sadly not overly known, Nick Drake?

An English artist, Drake was born in Rangoon, Burma. His main instrument was guitar, though he was proficient at other instruments, like piano and saxophone. His first official release was the album "Five Leaves Left" (1969), followed by "Bryter Layter" (1970), and "Pink Moon" (1972). He suffered from depression and other conditions throughout his life, and did not play live shows or gave interviews after the releasing of "Pink Moon. Nick Drake died of an overdose of prescribed antidepressants in 1974, he was 26. Though he already had small a cult-following at the time, he never achieved commercial success - which was a fact which had a great impact in Drake's life, as can be heard songs like "Hanging on a Star":

Why leave me hanging on a star,
When you deem me so high?

And why leave me sailing in a sea,
When you hear me so clear?

I first heard this amazing musician through an old friend of mine, which sent me the album (actually an EP) "Time of no Reply", which consists basicly of acoustic guitar and voice. It is a compilation of alternate takes and unreleased music, released long after his death, in 1986.

His crystal-clear guitar playing, his obviously strong, made-to-play-music-hands, as well as beautiful compositions, captivated me from the first few chords of "Time of no Reply". They were almost as clear as his emotion-filled, tormented voice of an almost angelical nature. Not only was the music perfect, and obviously very thought of and studied, but also the lyrics were meaningful and quite well written. This is one of those artists i wish i could say i had been influenced by - but i don't even have the talent to be influenced by such a character.

My rating of this EP - 4.4 / 5


Here are some songs to get you started (in case you don't know him already) on this amazing artist. If you do know him already, enjoy still:

Joey (in Time of no Reply EP) (Non-official video):



Been Smoking Too Long (in Time of no Reply EP) (Non-official video):



Pink Moon (in Pink Moon):

First post / Introductions / Reasons why I created this Blog

I'm Marlon. I'm from Portugal. I'm 19 as I'm writing this. I play bass and I pretend to play guitar. And music is a part of my life which is so huge that i would never be able to quantify it.

About a year ago, the following question, as I listened to some of the greatest music in my life, this question started to come up in my head: "Are there actually people who are going to die without ever listening to this stuff?"

Of course, an inevitability, is that I, too, will die without listening to some amazing music. But this Blog will be about sharing my musical tastes and whatever knowledge I have about music, as ecletically as possible to me. Rest assured that you, at one point or another, will find from old Blues to extreme Metal in here. To me, good music is good music, and it barely matters what style it is.

The problem, to me, with music these days, is that there is amazing stuff out there, but most good music is "concealed" under layers and layers of what I usually call "music for immediate consumption", and lots of people have good taste, but they just need a "push" in the right direction to start finding the "righteous" path. I don't mean to sound pretentious. But that is what happened to me; I was given a push into great music and, since, I've found all kinds of artists and genres I had never even dreamed about, which, nowadays, are a crucial part of who I am as a person and a musician.

This blog was an idea I had a few months back, but never until now did I have the time to actually create it. Now it's the time. I wish I had the time/patience to post new entries in here everyday, but that is totally not going to happen.

This is a blog, for sharing with people, music that completely changed my life, for music I love, or simply for bands that kicked me in the ass unbelievably hard. Or even music i didn't like so much, or even hated.

When I present a band/artist for the first time I will try to present a short "bandography" with information as accurate as I will be able to provide. If ever do you detect information which is wrong, please bring the wrongness of my ways unto the light, and I will for sure correct it as soon as (and if) the error is confirmed.

Stay tuned.