Andrew Danso

Technicolor’s press release is riddled with the sorts of hyperbole best described as inextricably pretentious. Language like “Art-core” (not hardcore), “opposing acoustic concepts”, and “scientific law”, already say much about a band with a lot to say, but in the completely wrong way. This not at the very least, proves a massive disservice to Dioramics music (if I’m allowed to mention ‘Dioramics music’ without breaking sweat, aligning them with the stars and some sort of theory about the abacus) misleading you every word.

This is Lifeforce Records first 2010 offering. And, whilst the underwhelment doesn’t take long to kick in, it says much for the attitude of the label. That being, a willingness to publish ambitious projects that wriggle far from the conventional. We can only applaud Lifeforce and Dioramic for their efforts, if even the finishing line hasn’t been quite reached. Technicolor’s content shifts between the hardcore and progressive genres. Their guitar riffing is more of the ‘chug’ nature than chord progressions (mind you, both are present). The vocal floats between clean and higher pitched yelps that are reminiscent of Freak Kitchens, Christer Örtefors. You’ll also find a very strong and talented drum performance present, with the bass throbbing taking the back seat. Samples are often thrown in, adding further substance and depth to the tracks, and invariably Dioramic do experiment with various instruments across the board, which help only to mix things up.

With so many ideas flowing around, Technicolor ultimately fails to come the boil on any of its laurels (its progressive nature, its hardcore nature, and its art). What strikes, as most disappointing is the records broken structure, with each track feeling 50% complete, whilst the other half begins or ends in a complete slouch. The complete material lends a hand at demonstrating the potential for this act, but also reinforces that Dioramic’s ideas have no where near been fully realized. It’s artistic ideas overflow genius, but it’s piecing together into one coherent package, is clumsy and ineffective. This is great art, poor execution.

A 2010 reboot by Lifeforce, that comes across average at best.

6/10 Metal-Mayhem.co.uk

Labels: Andrew Danso, Andy Danso, Dioramic, Dioramic 2010, Dioramic Technicolor, Lifeforce Records, Metal Mayhem, Metal Mayhem UK, Technicolor, Technicolor 2010

Another expansive journey into progressive territory. That’s the simplest way to coin Shifting, ‘progressive’. By its very nature, Shifting is an intricate experience, filled with melancholies, metal sections, ambient soundscapes; subtleties often deaf to the ear of the metallic listener. Providing a reference to lean upon usually helps, but this description certainly won’t. The only real similarities are Tool, Ephel Duath, Isis, and Mogwai. So, whilst diffusing the material mentally may be a challenge, sonically it’s nothing short of superb. The song writing is coherent, solid, and has much fluidity moving in and out of its rich progressions. There’s an unreserved creativity within Shifting, as At The Soundawn incorporate percussive and electronic elements to the production, heightening the experience, which would be woefully diluted otherwise.

In an ocean of ‘obvious’, ‘nearly’ and ‘no cigars’ At The Soundawn appear to find land on Shifting, with their brain of post-rock and progressive metal. Not nearly a perfected album, Shifting does have its faults (melodrama plagues parts of the experience, overly long winded writing style in periods) but none often memorable. On the contrary, each track present is memorable and distinct, to where it is going, and where it wants to take you. Every ingredient heard has had the breadth and scope of experienced and talented artists. Shifting is At The Soundawn’s defining record, so far in their otherwise short-spanning career.

8/10 Metal-Mayhem.co.uk

Labels: Andrew Danso, Andy Danso, At The Soundawn, At The Soundawn 2010, Metal Mayhem, Metal Mayhem UK, Shifting, Shifting 2010, Shifting album

I've been away for the best part of this month working mostly on a new project. Named Blue², it is a complete shift in direction from the previous album, that is very much far away from my metal influences. I have it que'd for release within the next two months, that'll span of 5 tracks (not entirely concrete). However, I'll be trying a pay-what-you-want scheme, letting you pick up the EP for absolutely nothing, to how much you want to give me (this will hopefully work with most of the digital retailers too).

I'm taking reservations for anyone that might want a copy held. Just send your name, email, and shipping address to my email address (andrewdanso@live.co.uk), and I'll let you know as soon as I can, when a copy will be out to you -- this alternatively can be digital too. Remember, you don't need to give me a penny.

Blue² is to be the first of two EP's hopefully released in a couple of months. Red is the other project, which is planned to span of much more heavier and darker material.

I'll be sure to keep an update, thanks again.

Labels: Andrew Danso, Andrew Danso 2010, Andy Danso, Blue Hat Thinking, Blue²

New personnel with a different focus in its crosshairs; this encapsulates the ‘Devin Townsend Project’ with only two records in. It’s an obvious ploy made by Townsend, to not least further his career but to keep us (and himself) guessing on the eventual output. Ki was a success. It spanned of everything deep within the Townsend vein and some. Following on from Ki was sure to be deflating. Branded a collectively ‘more fun and straight to the point’ record, Addicted! is infinitely that PR line and less.

If warning shots were fired by Townsend, prior to the eventual criticism of Addicted! then we’ve taken two the chest. He’s dead right, Addicted! has no where near the same care or depth associated with Ki. You’ll be dosing on disco and pop, fused with his typical industrial metal (think a minor SYL) or you’ll be listening to incredibly straight to the point, heavy, metal. However, everything presented is expectantly polished. The ‘to the point’ material is very effective, that even outdoes a lot of his better productions under SYL. The pop or disco implementation is unpalatable, and so are the shoddy but necessary choruses. Interestingly there are about five core tracks the album manoeuvres around, (which are very much accomplished) with the commercial beef intertwining between.

Of the four ‘Devin Townsend Projects’ (four announced, two complete) it doesn’t take half a brain cell to know that Addicted! will be on the bottom of Townsend’s barrel (mine too), when it comes to rating the albums one by one. That’s not to say this is a bad record (in fact it’s the very opposite), but suffers considerably from the negative clichés that greatness indirectly spawns. What next though, for Townsend - we can’t wait.

7.5/10 Metal-Mayhem.co.uk

Labels: Addicted, Addicted 2009, Addicted Review, Andrew Danso, Andy Danso, Devin Townsend, Devin Townsend Project, Devin Townsend Project Review, Devin Townsend Review, DTP Review, Metal Mayhem UK

If one of Wilson’s many efforts were to suffer from the negative backlash of hype, Insurgentes was it. Promising guest appearances, shifts in stylism and a reflective documentary meant much to live up to, and upon listening to the single “Harmony Korine”, labelling the record a ‘flop’ wasn’t out of question if very arbitrary.

Everything from the first and last track on Insurgentes confirms that Wilson is really out of his progy comfort zone. No longer are you hearing swaths of the late 60’s with a specific nod to the Floyd but computer sequencing, reflecting a desire to get off the traditional progressive hovercraft, and more importantly, amplify change.

Porcupine Tree underwent a renaissance many years back (In Absentia, 2002) shifting toward a progressive metal approach. Insurgentes is of personal evolution for Wilson, and the records moody but captivating substance proves this. Shoehorning the record into ‘prog rock with a leaning toward metal’ is not only a disservice to you, but entirely false. You’ll find that Insurgentes marks uncharted territory for Wilson, as he explores themes never to be associated by previous works. Track “Abandoner”, filled with electronic sequencing ends with ‘bit crushing’ that eventually scales to nearly be painful on the ear; if not, at least very uncomfortable. Similarly the haunting climax to track “Get All You Deserve” ends in discomfort. Purposefully easing someone into discomfort is simple with sound, but to make it compelling is nothing short of masterful. Wilson achieves this, easily. The riffing and atmospherics present are also worth a mention, as not only do they provide an excellent backbone to the record, but are so varied that coined criticisms toward ‘obvious and repetitive song writing’ go out the window. The massive degree in mood swings, create a dark and sombre undercurrent that is touching and felt with unease. The blend of the aforementioned makes Insurgentes, ultimately timeless.

The 55 minutes are so rich in detail, that when Wilson decides to throw a curve-ball (and he throws many) the impact might not be as greatly felt. However, in a sea of superlatives these kinds of criticisms have never felt smaller.

9/10 Metal-Mayhem.co.uk

Labels: Album Review, Andrew Danso, Andy Danso, Insurgentes, Insurgentes review, Kscope, KScope Music, Porcupine Tree, Steven Wilson, Steven Wilson review

It’s difficult to not think that The Few Against Many would be little else, without their symphony in backround. Often they’ll play through progressions with the odd keyboard stab thrown in for layering – or some quasi production value argument, the band would immediately bark at you. Needless, and wasteful, the used symphony isn’t an aid to their cause. However, "Sot" being incredibly dull without isn’t far from the truth.

A decent, if not worthy addition to the Scandinavian archives, dismissing "Sot" like it was Arch Enemy’s Doomsday Machine would be extremely harsh and unfair. This will be enjoyed by any Scandinavian fan, or occasional user. Its songwriting has more depth than your average cup of Sweden, and coupled with powerful punchy choruses, help add impact to what is a very normal Scandinavian effort. The symphonic addition to The Few Against Many undermines much of the latter. It adds a panel of tackiness often invoked with Children of Bodom; best described as a plethora of Botox, into a space that hardly needed filling.

Blessed with excellent musicianship, "Sot" is a record that initially feels as solid as Bloodbaths “The Fathomless Mastery”. The symphonic undercurrent left us baffled, questioning its existence over such firm foundations. Why the plastic?

Archaic-Magazine.com

Labels: Andrew Danso, Andy Danso, Archaic Magazine, Pulverised Records, Sot 2009, Sot album review, Sot review, The Few Against Many, The Few Against Many 2009, The Few Against Many review

Have you heard everything here already? Nearly. The underlying discrepancy with everything Tandjent have presented on “No One Will Hear Us” is that it is straight imitation. Yet it’s done in a manner that is somehow fresh. For all of the wrong reasons, Tandjent’s debut is solid, worthy enough of their hero’s recognition (if they embrace copycats) and likewise of their main influence, technically sound. Meshuggah’s “Destroy Erase Improve”, and Fredrik Thordendal’s scientific “Special Defects”, are no easy feats to emulate, let alone weave together; but somehow, they’ve done it.

Everything from the shotgun guitars that Hagstrom phrased in relation to Destroy Erase Improve, to Thordendal’s jazz-like-Allan-Holdsworth lead guitar, to Haake’s mechanical grooves have been layered anew amongst different riff progressions. You could swear their final number “The Path Of True” is “Soul Burn” when your eyes are closed, if only for a brief moment. The margins are really too close on periods of the album to applaud; but applaud you will, at the sheer technical know-how and brazenness of it all.

The same concoction thrown into different, if lesser test tubes. This embodies Tandjent’s plagiarised formula as if it were something they had been born to do. But even as you try to wave notions of theft in front of the project, their regurgitation tastes just as good, and just as technical. Perhaps the critic must learn to unlearn to fully appreciate “No One Will Hear Us”.

Tandjent’s debut is packed full of technical nous, but is artistically a moot point. At Metal Mayhem UK, we can only see a vast potential and lend a thought that they’ll find their feet, come the second release. Here’s hoping.

7/10 Metal-Mayhem.co.uk

Labels: Andrew Danso, Andy Danso, Metal Mayhem, Metal Mayhem UK, No One Will Hear Us, Tandjent, Tandjent 2005, Tandjent album review, Tandjent Review