Andrew Danso

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

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

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

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

Sometimes album reviewing is very tricky business and more to the point it’s difficult to not make The Black Flux article into a full blown press release. It really is that good. And whilst perfection is an unattainable score, Virus without a doubt, have
never been closer to it.

Beautifully discordant, dark, sombre, and majestic often at the same time encapsulates The Black Flux. The music itself is challenging because of the intense atmosphere made by the above. You’ll not hear blistering technicalities on the instruments (nor do you need to) but the steep learning curve many will have to undertake to fully understand the project is a tall order. Placing The Black Flux into the progressive metal category may spark debate, but it’s definitely an accuracy whilst being loose (more so heavy metal, experimental and progressive metal in one pot). One of the bigger aspects present on the record is the vocal echoing Ian Curtis from Joy Division. It is certainly controversial when thrown in, and will conflict with most listeners assumptions on harmony (not to be mistaken as a discordant vocal, it’s just another surprise when layered on top of the other elements in the music). Saying that, it’s certainly suitable, that adds to their sound richly and beautifully; it’s near enough a defining touch. Finally, Virus aren’t scared to draw out a guitar riff or two, and this is a huge characteristic amongst the tracks.

A twisted and haunting masterpiece that should change many perspectives in the genre. Virus have not just made a progressive leap with The Black Flux, but metal itself.

10/10 Metal-Mayhem.co.uk

Whilst the security of merchandising and record sales is often enough for any musician to show their hand in the industry, it too comes at a creative price tag, one that “One Without” simply can’t afford. “Thoughts Of A Secluded Mind” is a pop rock/metal effort. Placing it within the metal genre is only a given because of the heavier ‘chug’ guitars present. You’ll also find clean vocals, drums, and synth at the heart of the experience.

The music itself is firm, well written and well executed. Everything has been done in binary fashion (chorus, verse), that echoes themes from the later works of In Flames, Megadeth, and Evanescence. With it being radio, nightclub, youth club and hard rock café friendly, popularity to be gained and sustained is a mere certainty.

Such assurance is creatively expensive. “Thoughts Of A Secluded Mind” is very plain, and very, very stale. There’s nothing on the record that claims a ‘unique selling point’, it’s just an emulation of the acts previously stated. The album lapses into repetitive territory with each track guaranteed to contain a power chorus (or five), a key change and a melodramatic guitar solo.

“Thoughts Of A Secluded Mind”, is an accomplished record, setting out to do what it means to do; yet falls very short because of this. On one of your better days, this effort can sound as vibrant as an early Megadeth record. On a different day, as tedious as Madonna.

6/10 Metal-Mayhem.co.uk

Apart from the blindingly appalling title, As You Drown are very focused about their business on "Reflection". Sharing common ground with pioneers Decapitated and even more so Oceano, has sensibly made AYD make key decisions based on their influences formulas and not there own. There are no melodramatics to be thrown around, spontaneously cried with, and be tucked away into the deeper hierarchies of ones brain. Instead, an emphasis is placed on (overwhelming at times) sheer down-tuned brutality, and demonic chord progressions. No complaints.

The music itself is comprised of 'chunkier'-than not guitar riffing, that floats in and out of majestic chord movements, with a blasting or death metal applied drum style in its undercurrent. AYD’s major fault is their own approach being too similar to acts previously mentioned, and the other ten thousand that follow.

“Reflection” presents a group with solid intentions, firm foundations, and excellent song writing. However, the prompted question “Is the modern death metal reiteration on the verge of becoming stale?” rings much louder in the aforementioned chaos.

Archaic-Magazine.com