Celldweller Review

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Celldweller ReviewCelldweller has gained alot of respect and fans since the release of this. With many of these songs heard in Movies, Video Games & Internet Radio and a MySpace page filled to the brim with loyal Klayton fans. The ironic part is this guy is from Michigan (where I happen to live) where Industrial & Techno are far from the main trend. Yet this One Man Army is easily one of the most idolized independent artists in the state, If not the country.
The albums approach is a mix of several different genres. Alternative, CyberTek, Gothic, Industrial, Metal & Techno. They all combine into a well oiled machine creating some of the most original music i've ever heard. From gritty synthed out guitar riffs, to dark overtones with soft melodic vocals and everything in between.
Songs such as 'Tragedy' have lyrics easy to sing along with and fast paced music easy to dance to or even head bang to. Other songs such as 'Switchback' have a heavier Industrial Metal influence and even have Klayton singing in audible Growl/Yell form. Tracks with a darker grittier approach like 'Symbiont' have Cyber Goth written all over them and are a nice addition to the album.
Metal fans be cautious, This album really isn't all that heavy. I suggest checking out songs on MySpace before purchasing. Everyone else don't hesitate, This is a great and original album to add to your collection. Personal favorites include: Frozen - Tragedy - Symbiont - Afraid This Time.
-If you took the time to read my review, Please take the time to rate it and let me know whether it Helped you or Not.
-Thank you, A loyal Celldweller fan & Michigan Music supporter.
-Also check out these similar albums also made by Klayton..
The Beta Cessions by Celldweller
Take It & Break It Vol. 1 "Own Little World" Remixes by Celldweller
Take It & Break It Vol 2 "Frozen" Remixes by Celldweller
Circle of Dust (1992) by Circle Of Dust (Klayton's Old Band)
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The Fragile Review

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The Fragile ReviewThis is "The Fragile." Agressive. Searching. Loose. Smashed up. Glued back together. Imperfect. Flawed. Closer to something. Sad. Happy. Optimistic. Searching. The wonder. The light. The turmoil. The brooding. The mind. The fragile.
Yes, all of this is Trent Reznor, his emotions and sounds standing naked to the listner in this two-disc album that refuses to leave you past the end. It's an album that's hard to describe, but it easily is put on the cinematic scale that only few bands like Radiohead and Pink Floyd can give you. "The Fragile," can easily be said that it's different than all of the other Nine Inch Nails albums--since all of them are so sonically different from one another--but in this case, "The Fragile" is an important turn. With the introduction of a more low-fi organic sound, like violins, yukelledes, and pianos, mixed with the electronic tension that NIN has long-since been associated with, you have a sound that is extremly avant-garde, almost art-rockish. One really good display of this is the opening track, "Somewhat Damaged. It begins with a simple innocent, accoustic guitar, playing the same tune again and again until it starts to be built up with more tracks of accoustics. A hard pounding beat sets in; every hit is distinct from one another like they all have personalities of their own. Electronic whizzing begins, filling the ears with more and more building tension; every new track builds to make the tune more intense. Reznor starts singing soon afterwards and quickly turns the song, which so innocently began with a little guitar, into a raging Goliath.
And that's just the first track!
Reznor amazingly stresses the importance of the 'concept album,' a line of song after song that feels like a movie being played to you sonically. Every song, like the crunchy-but-mellow "The Day The World Went Away" flows neatly into the other, like the mellow classical "The Frail." Every song, from hard to soft, fits neatly between each other, with fade-ins coming so seamlessly you wonder how anyone could find a connection between them.
The dizzing "Where In This Together," with its whizzing guitar buzz and never-ending pace feels extremly schizophrenic for a first listening, but after more listening, you begin to discover how honest and right it feels; its lyrics, which are some of Reznor's most optimistic in years, gives you a sense of the over-all theme to this album: Rising above all that's happened to you, or at least trying to.
Songs like the jazzy "La Mer" and also the title track genuinely show a bright shinging gem of beauty to be found in all of this personal examination and acceptance. Other songs, such as the hip-hop fueled/Dr. Dre-assisted "Even Deeper" and "The Big Comedown" drag you back into the place where Reznor tries to escape from--his tortured psyque. But that very ability to mix these kind of songs in the same album, yet not in a way that doesn't challenge the listener to think is truly amazing, and is probably one of Reznor's finest feats as a producer. He brings out what we hide within ourselves and shows how ugly and sometimes beautiful they are.
Of the two discs on this album, none stands out as better as the other; the two both show brilliance. Although the listener might get side-tracked by the first disc, it's excellent to explore the rest. One can't ignore the Pink Floyd-ish "The Way Out is Through," or the funk-filled "Into the Void." Instead, this album, after all, isn't an album you just skip from one song to another, but rather one you listen to the whole way. It's also excellent to listen to with your headphones (I STRONGLY recommend your first listening over headphones).
"The Fragile" is an album of the truest account. This is NOT Limp Bizkit. This is NOT Kid Rock. This isn't EVEN Korn. Instead, this is music that's intelligent, deep, brutal, yet beautiful. This is an album of substance. I highly recommend it.
It wouldn't hurt a non-NIN fan to check it out. I'm sure you'll enjoy it.The Fragile OverviewJapanese only 2 x SHM-CD (Super High Material CD - playable on all CD players) pressing. Universal. 2008.--This text refers to an alternate Audio CD edition.

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Mer De Noms Review

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Mer De Noms ReviewAPC have been both blessed and cursed by comparisons with lead vocalist Maynard James Keenan's other band, the excellent Tool. However, these comparisons aren't exactly justified. Perfect Circle is Perfect Circle and Tool is Tool. Both bands are unique, and their only real connection musically is through Maynard's vocals, which here sound far more vulnerable and emotional than his usual style.
The first thing that must be said about this album is that the performances given by all five members are all absolutely awe inspiring. Billy Howerdel's song writing ablility is second to none; Maynard James Keenan's vocals are better than ever before; Josh Freese is simply one of the best drummers on earth; Paz Lenchantin's bass playing is excellent, and her violin arrangements are simply perfect; and Troy Van Leeuwen's excellent guitar work is equally noteworthy.
Mer De Noms opens with the superb 'Hollow', one of the more upbeat songs on the album. Like many of the songs on here it has a wonderful chorus that you just can't get out of your head, with Maynards' vocals soaring while the music simply builds in intensity until the end.
Following 'Hollow' is the atmospheric 'Magdalena', one of my personal favourites and an exercise in controlled power. The atmosphere on this song is so thick you can almost taste it. There are some great guitar-noise breaks here before the song again builds up until it reaches an awesome intensity.. but without any kind of screaming or earache inducing yells.
'Rose' is up next, with its off-kilter melodies and strange bass/keyboard parts complimenting one-another perfectly. Some nice guitar solos without being over the top. (More pink-floydy than most rock/metal solos).
By now everyone will have heard 'Judith', the heaviest track on the album, expressing Maynards' rage at Christianity and Religion in general, with a great main riff and some superb 'bottle-neck' slide guitar.
'Orestes' is one of the more mellow tracks, with some excellent vocal harmonies and a wonderfully memorable guitar melody. Again this track (like much of the album) is intense without resorting to screams or heavy, pounding riffs.
'3 Libras' is one of the most beautiful songs I've ever heard. The lyrics are superb, complimenting the music perfectly, and the vocal work is astounding, particularly the end of the song which sees Maynard really opening up. The music in this song has an almost trance inducing effect, so well is it played.
'Sleeping Beauty' is one of the more heavy tracks, again intense and concentrated, simply due to the tightness with which it's played.
'Thomas' begins with a little melody played out on what sounds like an acoustic before the band kicks in with a riff that sounds like the world is ending. Brilliant.
'Renholder' is a strange interlude, consiting of another off-kilter guitar melody, with Paz Lenchantin's violin arrangements flitting around and complimenting it, along with Maynards' unearthly moans and sighs.
'Thinking Of You' has simply the best rock bassline I've heard since Ozzy's 'Perry Mason' from the 'Ozzmosis' album. I just can't get it out of my head!
'Brena' is almost ethereal in it's presentation. The vocals are again unearthly, and the music is absolutely superb, full of passion, and wonderfully emotive.
The album finishes with the NIN 'Fragile' soundalike 'Over'. Simply piano, a small amount of percussion and vocals. An odd, yet satisfying way to finish the album.
This really is a special album, one of those where you find yourself wanting to keep to yourself and treasure, and yet simultaneously shout its' praises from every rooftop until everyone knows just how great it is. There's something here for everyone, and everything here for someone. If you like your music passionate and intense, you won't be dissapointed.Mer De Noms Overview
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Undertow Review

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Undertow ReviewAs a progressive rock fan who entered Tool's world with Lateralus, I've been collecting their albums in reverse order. It's pretty strange going from Lateralus (their most progressive) to Opiate (their "simplest"). It must have been very interesting for fans who started at the beginning and watched this remarkable band grow into the powerhouses they are now.
At face value, Undertow seems simple and heavy, pulled down because of a muddy mix that never seems to raise the guitars above a buzz or Maynard James Keenan's voice to the heights where it should soar. It's more song-oriented than the multifaceted epics of Lateralus and even ::whoa!:: catchy at times. I love the rapid, quick-fingered picking of the infectious main riff for "Bottom". Heavy stuff can have hooks too, right?
At face value...
Undertow, however, is a pretty rich heavy metal album. Only traces of the alternative/grunge sound hover around Undertow's edges -- mainly the production style and some of the riffs. But in most respects, this is very much a metal record. Intellectually, however, Tool steps well beyond most metal bands with innovative musical intricacies and astute lyrics. Keenan is one of the most powerful vocalists in rock/metal, and his delivery is perfectly dramatic on songs like "Sober" (with its powerful ending) and "Crawl Away", where he whispers and roars. Adam Jones is a very unique guitarist, not playing conventional solos, and usually basing his playing on just a few chords per song. However, Tool is more about band interplay than individual playing: Danny Carey's exact and meticulous drumming; Paul d'Amour's gritty, growling bass; Jones' scratching guitar sounds, silent nuance, or earsplitting power chords. The title track is the most dynamic musically, with clever riffs and awesome vocals. "4 Degrees" shows the band's interest in Middle Eastern influences (which would inform parts of Lateralus). I recommend getting the lyrics from Tool's site and following along as you listen. It really gives the songs more impact.
And, of course, we expect a Tool album to have something weird on it. The trippy 16-minute "Disgustipated" finishes off the album, starting on track 10 and ending on track 69. Tracks 10-68 are just blank, 1-second bits. Then, on track 69, things start to happen. There's some dialogue, some sounds, some singing, and a *bit* of music. Listen closely to the words and think about it...interesting stuff. It's amusingly weird and cool.
Explore one of the best bands out there.Undertow OverviewArguably their finest album, this follow-up to Opiate showcases Tool at their best, assisted by clean, crisp production, without the muddiness of Aenima. Edgy guitar riffs are complemented by spitting, heavy bass, especially on "Sober" and "Crawl Away". Lyrically, Tool are at their vitriolic best, targeting religious hypocrisy ("Intolerance," "Sober"; always a popular theme), the loss of innocence and its consequences ("Prison Sex"), and deliberate ignorance ("Swamp Song"). Henry Rollins makes a guest appearance on "Bottom," which, along with "4 Degrees," deals with questions of identity. Undertow is also Tool's most musically adventurous album, lacking the occasionally numbing sameness of Aenima, and with considerably more sophistication than their previous work.

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