I was very cautiously optimistic about this album, mainly due to claims from Meshuggah fans it was "different" but sadly I was quite let down, (which maybe shouldn't have surprised me).

I fully admit I'm not a big fan of Meshuggah but here's why, they have always bored me. Their fans (who have really grown in number over the years and have reached "fanboy" status) are quick and passionate to tell me how technical they are and I understand that and appreciate it. It's just boring. Meshuggah is of course technical in regards to their insane time signature use and polyrhythms but not so much in terms of musicianship and song writing. The shame is they used to display such tendencies, and their albums "Destroy Erase Improve" and "I" are awesome prog metal works in my book. They have largely abandoned this for whacking the crap out of a few djent notes, or repeating two riffs, for 5 minutes and purposefully anti tonal brutality. This generally upsets fans who repeat "technicality" to me and I again ask to understand something can be impressive and still boring.

That was not a rant for the sake of it, but basically how I feel about this album. More of the same. One person I know said this album was proof that all those who think Meshuggah just do the same thing need their sanity checked, or something like that. Well check me in to the asylum.

"Koloss" sounds like same old Meshuggah to me. This is perfectly fine for fans, but I am just confused as to where the difference is. Djent and brutality abound. Whacked out time sigs, sub drop A djent riffs, and intentionally unforgiving brutality are a plenty. Every song sounds like Meshuggah by the numbers to me, and I admit every song on "Koloss" is different, which is nice, but the songs themselves tend to be repetitive. I think it's bad when a song feels like it was twice as long as it really was...

A prime example of my beef with Meshuggah is the song "Break Those Bones Whose Sinews Gave it Motion". It starts off cool, and has one hell of a brutal riff. Then that one riff continues for more or less 7 minutes. There is one part when it lets up, and it's a decent section but man what an unrelenting song overall. Especially with Jens screaming away.

Jens' vocals are, as always, completely atonal, non pitched and anti melodic. I get it. I know it's what they want to do, and I applaud them for taking no prisoners, but I just don't care for it. No variation, no pitch no nothing...just shouting at the absolute max. I will say they actually seem to have toned down the vocals a bit, it's not as piercing as previous albums. I'm not a fan but I can at least tolerate them on "Koloss"

For some good news, this album is better than recent Meshuggah output. I like the song "Behind the Sun" because it actually feels like a song, it progresses. I don't get bored after a few minutes and it builds to a powerful climax!

"The Hurt That Finds You First" starts off nice and thrashy, which is welcomed, and the song really changes throughout. How nice!

"Marrow" isn't bad, nothing new to say but it does change it up a good bit and even has some classic Thordendal random tapping solos. OK, not to take away from the guy but seriously, youtube it...you can make a Fredrik sounding solo by finding a certain way to tap 3 notes all over. Not a bad song, some cool parts.

"Swarn" OK now this starts off kicking some ass. Unfortunately it gets repetitive quick. There are some pretty sweet moments, but they are like islands on a trip across the ocean. Also there's more of that Meshuggah guitar noise just floating around the background. An alright song.

"Demiurge" isn't too bad either. The epic brutal riff is a bit boring, but the song does enough to at least keep me from wanting to hit next. Though really, the changes aren't drastic, just difference in the brutal riff being played.

The album ends with "The Last Vigil" another Meshuggah classic, the clean song. Not groundbreaking but very relieving! A melodic, clean guitar song that drifts you away. Very nice.

So that's what we got. I stress I get the band wants to do, and appreciate their technicality, (Tomas Haake is still one of my favorite drummers) but I am just left cold. Maybe that's the intent. Another repetitive, by the book Meshuggah album, though admittedly better and a bit more varied than recent work.

"Koloss" will be a damn fine album for any Meshuggah fan, while those who are not will find nothing here worth buying. I find half the songs boring, the rest are decent and a couple I actually enjoy. So while I recommend "Koloss" only for Meshuggah fans, it's not a bad album by any stretch, and feel a 2.5 is fair.

TWO AND A HALF STARS

I try to avoid hype, (whether it's music, movies, video games anything) to keep a clear mind and form honest opinions, and do so by avoiding said item for a while. So I really waited a good bit to listen to DT's "A Dramatic Turn of Events" but have finally gotten around to it. After giving the album some listens and fully digesting it, I can safely say while it's not a bad album at all, it's not anything great either. Like all their albums since "Octavarium" I was left a bit underwhelmed. It was a bit disappointing since I heard this album was a turn back to their progressive, melodic days.

The band does accomplish just that: the keyboards are way up, the heaviness is a bit down, and while still present the famed DT shreddery and technical w**kery are reduced. These are of course part of DT's appeal, but you have to change it up sometimes. I applaud the change, just the music itself left some to be desired overall.

The opener "On the Backs of Angels" I actually quite enjoy. A good blend of riff based and melodic based prog. It has a good flow and strong songwriting. It has a bit of all and is just very well done.

"Build Me Up, Break Me Down" has a cool spidery riff, and some nice heavy moments. The power chord chorus is a bit eh, but what can you do? Not a bad song.

"Lost Not Forgotten" is more "standard" DT filled with more technicality, w**kery, and riffing. I'm a fan of this, especially when put in a nice 10 minute prog metal song so this is probably my favorite on the album. Again, another well done song and not just a "by the numbers" which tends to be my issue with DT.

"This is the Life" is a nice light song. Keyboard driven, light guitar and drumming that builds to a melodic and powerful part. Nice to get some feeling, which despite liking the previous songs felt a bit absent of it. Pretty good song, though for the first time LaBrie's vocals get on my nerves, especially in soaring parts.

"Bridges in the Sky" starts with a quiet intro, featuring an attempt at throat singing which works semi well in my opinion. The song kicks into a heavy riff, and like the opener has a bit of everything. Good song.

"Outcry" is more of the same though I really like the middle section. A bit sluggish at times, it's not bad overall.

"Far From Heaven" a very light, keyboard and vocal driven song.

"Breaking All Illusions" I'm running out of different words to describe "more of the same" but this is actually one of the better songs on the album. Another straightforward though well done prog metal song.

The album ends with an acoustic guitar, keyboard and vocal song. Light and melodic, it's quite nice.

So I've used a lot of "good" and "a lot of the same" but that's the best way to describe "A Dramatic Turn of Events". It's a good album. Not great, but not bad, no real weak songs but none jump out at you either. It is generally well done prog metal. Good but not great, textbook definition of 3 stars in my book.

DT fans should like this, haters will find nothing to turn them on to it, and moderate/casual fans like myself will probably find it decent, and it's worth a listen.

Three Stars

With this album Neurosis takes a more standard post metal sound, though you can't knock the band for that, since they invented the sound.

I actually prefer newer Neurosis over old, simply put: atmosphere over aggression (as one person once told me). Of course atmosphere has been a Neurosis staple since '92, they've been belting out lengthy, atmospheric metal long before Isis or even Tool, but on "The Eye of Every Storm" they adopt a more heavy/light interplay style, and is greatly subdued. Their bludgeoning, sludgy guitar dirges are still around, but just much less. Neurosis has no problem utilizing melodic passages, and even minimalism.

Opening track "Burn" and "The Eye of Every Storm" have lengthy movements that are almost solely vocals, the latter being backed up a continuous "wub", psychedelic noises and splashes of guitar.

These two being standout tracks. "Burn" is, again, pretty standard post metal, though so well done. Heavy/light transitions, building to a powerful climax. His gruff, sludge metal vocals are so fitting...he does it in a more "singing" style and over soft, beautiful music it creates such an emotional, tortured feeling. Awesome song.

"The Eye of Every Storm" moves like a storm, gradually rolling in until it reaches a real moving part, before entering a long quiet section. A baritone talking takes the forefront, as mentioned earlier, backed up by various trippy noises. Really let it sink in, what he's saying, the ambiance, everything.

Another brilliant song is "Bridges". A steady, (though very distant) punk drum beat carries on while sparse piano, vocals, and fluttering psychedelic noises take the forefront. Picks up a bit before a schizo journey of drones and borderline silence takes over. Both parts are awesome, though it takes some patience to grasp all the subtlety in the quiet (on casual listen it'll sound like honest silence) before a rockin ending. Atmospheric, post metal to the nth degree.

That's really how to best describe whole album. A lot of quiet, spaced with heavy, (in their classic slow, even droning, nature) tons of little detail. Pretty heavy use of synth, though it's never prominent, just filler...another piece you may not hear at first but adds another dimension.

The vocals are still Neurosis' strained, sludge metal style though even here more subdued. He still lets it soar, but all the time and while I was never a huge fan, I like it much more here. The restraint does well, and of course makes it more powerful when he takes off.

No doubt, like most of the bands work this is a difficult album. Even I struggle a bit with some Neurosis. "The Eye of Every Storm" requires some patience and a fine ear. It's not the best for casual listening, as the long quiet parts would have to be boring, this is best for active listening. To really feel this albums power and absorb all the subtle songwriting it's best to sit down, do nothing, and let the album take you over. I like to put it on early morning after I wake up, sitting there relaxed playing this album, or doing so whenever I have some nice down time.

While it's extremely well done, the album is a tad formulaic and it's difficulty may be a turn off, (though I found it easier to get into then old school, crushing Neurosis). The gods of post metal have done it again, putting out a unique and superb post metal album.

Four Stars

This album is a bit of a departure for Pelican, which is why I think (despite critical reviews) fans of the band don’t seem to care for this album, at least not as much as their other work. At first I was on board with that though I couldn’t put my finger on why. With time though “What We All Came to Need” grew on me, and while it may not be the strongest album the band has put out, it is still very good.

Before this album, Pelican switched from one slower, progressive metal focused label (Hydra Head) to another (Southern Lord) and while both specialize in the same general types of band, Pelican changed things up with this release. The emphasis on riffing, (one of their defining features amongst post metal bands) is subdued, as is the heaviness. Now, it is still undeniably heavy, but less “sludgey” less bottom heavy and outright pulverizing. So at first listen this album can be a bit underwhelming.

Though it’s just a different style, instead of riffing and pummeling this album is about texture, and atmosphere. I should say they are more the focus, as these qualities were always essential to Pelican. So it takes some getting used to certainly, but it has what you want from Pelican: guitar driven, upbeat post metal complete with amazing melodies, perfect guitar interplay, some awesome riffs, and while not as up tempo as “City of Echoes” still generally more so than most post metal. Progressive song writing still abounds, though it’s not as epic as previous work, and feels less structured overall and more drifty. There is also increased use of melodic passages on this album. This is a more cerebral and reflective Pelican.

Some notable songs are “The Creeper” which is the slowest, heaviest, most brutal song on the album, “Specks of Light” the riffiest, most up tempo song (and with some killer parts) and the finale, “Finale Breath” which features vocals! A first for Pelican. Instead of the harsh shouts or emotional singing customary to post metal, they opt for shoegazing like dream like vocals, fitting for the nowhere drifting nature of the song. The vocals are courtesy of Allen Epley (who I’ve not heard of personally) and some other guest musicians make an appearance, including Greg Anderson of Sunn O))) fame, and Aaron Turner of Isis.

A little less traditional Pelican and more traditional post rock/metal this is not the band’s best album, but it’s still a damn good one. With some time and listens it should strike you as a solid and well executed, if unspectacular, post metal album.

Three and a Half Stars

It generally seems to be that this album is not too well liked by Pelican fans, or that "It's OK but just not that great". Well to each their own but I love "City of Echoes" and it is actually my favorite Pelican album so far.

It has every staple of Pelican's sound: very heavy, dense and intricate guitar work, progressive song writing with awesome riffs and melodies. In fact it was the band's higher emphasis on riffing that always made them stand out to me from most other post metal bands. As well as their less reflective, (even brooding) more upbeat nature.

While all that is still present, "City of Echoes" is more streamlined than past work. The longest song is 7 minutes, with four of the eight clocking in the 5 minute range. While some die hards may automatically dislike this, I always love to see a band and change it up and see nothing wrong with more to the point, (dare I say....accessible) songs.

Don't worry, this is no pop album, the songs still move...but instead of drifting to the end of the river, it flows with more force. Maybe the climaxes and finales are not as mind blowing, but the songs may be more powerful, more energetic. Basically, it's all the good of Pelican but a little easier, a little more rockin. I'm OK with that.

This is all backed up by the drumming, which is a bit more up tempo and diverse than before. It gives a different touch to the music, some feeling, (always nice to sound human and not like a machine right?) and intensity. There's even some pretty quick double bass at times! It's still pretty straightforward, but better and as the band themselves have said, they are not trying to be Don Caballero here.

Of course the album is still guitar driven, and the riffs and melodies are the best yet. As always the dual guitar work is just awesome. Working in unison, as lead/rhythm, or diving in and out of each other. It's so well done. De Brauw and Schroeder-Lebec are guitar wizards.

There's also an increased emphasis on bass, taking a prominent role as another instrument instead of just bottom filler. I think it always gives the music a more textured sound.

The songwriting is great, perfect flow and progression. It's not always heavy either, dipping in the clean pool a good bit. Most importantly: great variation. Not just in song, but every song has a bit of a different feel to it. It's difficult to pick standout songs since they are all great, but the acoustic "Winds with Hands" is a good change of pace and "Lost in the Headlights" is my favorite. The most energetic on the album it also best does a little of everything said in the review above.

Amazing album, maybe some Pelican or post-metal fans will not care for it's less epic nature, but cmon a little different won't kill ya! An awesome listen, and should be enjoyable for any fan of progressive metal. It's even gotten enjoyment from non metal heads! If you can take some heavy guitar, I recommend "City of Echoes" regardless of what you like. It's also instrumental so don't worry about unpleasant vocals.

Masterpiece

Five Stars