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Tech/Extreme Prog Metal • Sweden

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Meshuggah biography
MESHUGGAH are a swedish heavy metal band who formed in the late 80's. They have had a few line-up changes over the years but their current line-up consists of Mårten Hagström, Fredrik Thordendal, Jens Kidman and Tomas Haake.

MESHUGGAH stand out from other heavy metal bands by having quite unique complexities that make their riffs and styles extra interesting. Blending styles of thrash in their early works, they have gone on to write more complex and challenging pieces album by album, taking a much more progressive feel to their music album by album. MESHUGGAH are famous for their strong use of unusual time signatures, often relating to jazz complexities. This makes their thundering riffs take a much more challenging and progressive form.

MESHUGGAH are quite unlike any other metal bands on this forum and are certainly an interesting pick of the prog metal genre. Sometimes described as "Math Metal", MESHUGGAH will go down well with fans of heavier DREAM THEATER tracks and other bands like TOOL for their unique complexities. MESHUGGAH's highest rated albums are "Destroy Erase Improve" and "Catch 33". One of their proggiest works is the 21 minute epic, "I" which is on a separate EP and is definetly worth checking out as it is a brilliant example of their odd shifts in time signatures and shows off their complex structures really well.

: : : Frenchie, ENGLAND : : :

See also:
-Thordendal's (Fredrik) Special Defects

Meshuggah official website

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The Violent Sleep of ReasonThe Violent Sleep of Reason
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The Violent Sleep of Reason grey/black splatterThe Violent Sleep of Reason grey/black splatter
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I (Special Edition)I (Special Edition)
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Destroy Erase Improve (RELOADED)Destroy Erase Improve (RELOADED)
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The Ophidian TrekThe Ophidian Trek
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Catch Thirty Three (Slipcase)Catch Thirty Three (Slipcase)
Nuclear Blast America 2012
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MESHUGGAH discography

Ordered by release date | Showing ratings (top albums) | Help to complete the discography and add albums

MESHUGGAH top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.14 | 60 ratings
Contradictions Collapse
3.76 | 149 ratings
Destroy Erase Improve
3.88 | 177 ratings
3.57 | 133 ratings
3.61 | 171 ratings
Catch Thirtythree
3.79 | 102 ratings
Nothing (New version)
3.65 | 212 ratings
3.61 | 99 ratings
3.91 | 71 ratings
The Violent Sleep Of Reason

MESHUGGAH Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

5.00 | 1 ratings
The Ophidian Trek

MESHUGGAH Videos (DVD, Blu-ray, VHS etc)

4.24 | 30 ratings

MESHUGGAH Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.34 | 12 ratings
Contradictions Collapse & None
2.50 | 10 ratings
Rare Trax

MESHUGGAH Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

3.11 | 7 ratings
Psykisk Testbild
5.00 | 2 ratings
Ejaculation of Salvation (Demo)
5.00 | 2 ratings
Promo Tape
3.67 | 21 ratings
2.79 | 5 ratings
2.18 | 3 ratings
Selfcaged (USA version)
3.50 | 2 ratings
Hypocrisy/Meshuggah (Split)
2.42 | 11 ratings
The True Human Design
4.11 | 119 ratings
3.17 | 5 ratings
Pitch Black


Showing last 10 reviews only
 I by MESHUGGAH album cover Singles/EPs/Fan Club/Promo, 2004
4.11 | 119 ratings

Meshuggah Tech/Extreme Prog Metal

Review by poito

1 stars This is supposed to be the best accomplishment of the band so far, a 21 min long track of brutal, or not that brutal sound. The values? Well, as usual, repeated sounds, once and again, it could all be packed in about 16 seconds, the rest up to 20 minutes is dull, dull, dull, dull, dull. As I said in former reviews, Meshuggash' production is kind of physiological restorative for bad days, and a psychological weapon to let neighbors know this is not a good day to mess with you. What can be musically explored in this line has already been done, there is no more to add, that's how I see it, and that's why it is dull. Now, if you use it to trance, I have nothing to say. Enjoy and take it easy. I don't give more musical credit to this than to Fripp and Eno inaudible experiments... maybe a bit more.
 Chaosphere by MESHUGGAH album cover Studio Album, 1998
3.88 | 177 ratings

Meshuggah Tech/Extreme Prog Metal

Review by poito

1 stars One thing surprises me all the time and it is the wonder capacity of the brain to discriminate things. Such extreme sensitivity capable of sensing half a gram in a hand, or half a note in a song, or one album by Meshuggah from another. It seems all is in the training. I mean, I am able to see the differences between tracks, but still can't see what the purpose of such differences is. I would say the emotional charge is in the bulk, not in the details. And I doubt the composing of the details takes more than 10 minutes to figure out. I even wonder why some tracks last more than others, and what puzzle me to madness in this album, is why should a track last for 15 min , 'Elastic'; is it an experiment to check if a brain will explode without a rest for that long? Six full minutes of monotone noise followed by 5 min of full instrumental blast seem to me an attempt to breach skulls. Now, the question is, who is it targeting? The listeners or the rest of the world?
 Destroy Erase Improve by MESHUGGAH album cover Studio Album, 1995
3.76 | 149 ratings

Destroy Erase Improve
Meshuggah Tech/Extreme Prog Metal

Review by poito

2 stars If I was 14, I would probably worship Meshuggah, but all we had then was Deep Purple, and Black Sabbath. Not bad umm. Lucky I was. Ok, ok, I admit it; I see the differences of this band with other crap death metal extreme whatever: They don't shout all the time? but almost. Two things can be said; one, these lads are or pretend to be angry (so am I because of the human stupidity and the massive corruption of leaders), and two, they discharge tons of adrenaline. Good for them. I wish I could, but I can only try writing reviews. But is insufficient, and every now and then I still refresh my 14's and listen stuff like Meshuggah, in small dosage though. It is a catharsis that is necessary when you are back from the job where the crooked boss plays the big smiley man while infecting all people nearby, or later on when watching the news on TV to realize that those in command are happily committed to make of this planet a cesspool unstoppably headed to disaster. Or you may also use it in your car when entering the parking lot in your work place and there is someone nearby that you would like he/she to know this is not a good day to mesh with you. It works¡ And after philosophy, back to the MESH. They have good instrumentalists, and the making of music uses the classic elements of rock though morphed into full distortion guitar, shouting voices, and briskly unconstructed riffs. A couple of tracks get out of the script, as "Sublevels", but no need to stop by. I might spare "Rituals", just to keep one alive. Nearly all tracks have same structure and same taste. As with other screamer bands and sound sputters, as Metallica, they could record a dozen albums per day. This is not bad, you know, creativity has no limits. And yes, spite of the valve of scape good services to the world, the musical value of the de-compositions is what we all know, no need to mention. Do we? Ok ok, it is in the album cover.
 ObZen by MESHUGGAH album cover Studio Album, 2008
3.65 | 212 ratings

Meshuggah Tech/Extreme Prog Metal

Review by Something_Wicked

4 stars Obzen is a contraction of the words 'obscene' and 'zen', in that the music within is the heaviest, densest and to many the most brutal, yet it imparts a trance like state on the individual. One may get lost in the cyclic odd time rhythms, counting out the numbers like some kind of Buddhist's litany, or maybe caught in the gentle atmospherics that envelope the sheer anger and energy, transcending the filth, simultaneously detaching from and becoming one with the music. And after the fact, however many times you've made the journey through the music, you'll always want to go again, to revisit the plane in which you observed the mingling dance of dark and light, but each time is never the same.
 The Violent Sleep Of Reason by MESHUGGAH album cover Studio Album, 2016
3.91 | 71 ratings

The Violent Sleep Of Reason
Meshuggah Tech/Extreme Prog Metal

Review by kev rowland
Special Collaborator Crossover Prog Team

4 stars

When one buys a Meshuggah album one knows exactly what to expect, and this 2016 is no different to the ones that have come before. What we have here boys and girls is djent, but in a complex downtuned and aggressive form like none other. It is just not possible to state how brutal this album is, from the very first crunch to the last. Singer Jens Kidman has a great deal of work to do to make himself heard, as the rest of the guys are just so tight, so precise, that it is incredible that he manages to find a melody line at all. This is complex stuff, and no-one does this style of music better than the Swedes. True, they are somewhat lacking when it comes to dynamics, as there isn't a great deal of light to play against the shade, but that doesn't seem to be a problem for them as they just paint the shade somewhat darker. Polyrhythmic is the only way to describe a band who haven't worked out that 4/4 is often thought to be a valid time signature in metal. Why do that when they can groove in 5/8 instead?

There really is no other band like them, and that they continue to tour the world (they even turned up down here not long ago!) and release albums (this is their ninth) shows that while this may not be to everyone's tastes, there is simply no-one who can do this any better. Meshuggah, djent, metal, intense, superb.

 Catch Thirtythree by MESHUGGAH album cover Studio Album, 2005
3.61 | 171 ratings

Catch Thirtythree
Meshuggah Tech/Extreme Prog Metal

Review by Tapfret
Special Collaborator Eclectic Prog Team

4 stars From the "wall of sound" section of my collection comes Swedish metal kingpins, Meshuggah, with their fifth full length LP-CD and first attempt at a concept album, Catch-33. The term "wall of sound" is used so that anyone reading this that is susceptible to ultra-distorted discordant guitars, maximum yell vocals (I am at the edge of my own tolerance), and obtuse, disorienting polymetric rhythms should turn around and walk away. If those elements are your cup of tea, or at least tolerable to dig deeper into a musical challenge, then let us proceed.

Released approximately 3 years after the less than enjoyable LP Nothing, the shift in album structure to a continuous piece on Catch-33 was prefaced a year earlier with the EP I, not only in its compositional presentation, but also in its lyrical theme. I may be completely off base as the lyrics contain enough metaphoric ambiguity, and there is a significant amount of interpretative discussion to be found on the internet about Catch- 33, that the concept of I appear to be expanding on the concept of self, inner struggles/paradoxes and pitfalls of defining self in reflection of others. To a lesser extent, one might even look at Catch-33 as a microcosmic extension of the concepts used in guitarist Fredrik Thordendal's Sol Niger Within. The ideas expressed in these thick metaphors are abundant with images of self being the primary perpetrator of psychological torture, even in the chemically stable mind. The summation of ideas seems to be presented early on in the album in one of its most recognizable lines, "The struggle to free myself from restraint, becomes my very shackles". Many of these ideas are expressed in the basic ubiquitous teachings of Zen philosophy and the core tenets of Buddhism. From a delivery standpoint, it is understandable that many may feel the ideas and depth of concept are lost in the profoundly distorted and incomprehensible screaming vocals of Jens Kidman. But in the case of Catch-33, there is a dichotomy in that loss of understanding by the listener is the representation of what is conveyed by that soft inner voice that speaks in paradoxes and generates the internal torment of confusion and loss of self.

Instrumentally the band uses 8-string guitars for an extremely thick bottom end. The processing of the guitar sound is peculiar in that even during the most distorted sections the lowest guitar sound less like the distortion of amplification overdrive and more like two metal pieces (wire/fret) vibrating against each other. This creates unconventional accents in the rhythmic patterns that are mimicced frequently today, but were very unique at the time of this release. Thordendal's typical Holdsworthian soloing style is used primarily as a texturing tool throughout the album. A particularly unusual aspect of this album is that Tomas Haake's drum tracks are actually programmed rather than recorded. Haake explains that this occured in the writing process, the programming was used for laying down the guitar tracks and the band as a whole decided the samples "sounded really good" and just went with it. Interestingly, they did perform some of the Catch-33 material live with Haake playing.

Catch-33 is separated into tracks for indexing purposes, but is presented as a single composition with different movements that seem irrespective of the track assignments. The composition displays a great deal more dynamic contrast than previous work. And while the use of "quiet" parts are nothing new to a Meshuggah album, they are never quite as extended as they are delivered on Catch-33. Nor are they ever delivered with as much of an avant-garde musical approach. Previous songs like Unanything, Acrid Placidity had a more generic "this is the mellow song on the metal album" feel to them. Even later, The Last Vigil, approached the use of undistorted strings in a similar vein, but did not come close in the complexity of musical idea. The sections of particular note I am speaking of are at the end of the tracks In Death...Is Death and Sum. There are a couple shorter undistorted sections, but these are the two longest. Each has intertwining guitar patterns and both contain some of the eeriest, most sinister sounding passages in the body of Meshuggah's work. I should hope that Thordendal and Mårten Hagström will employ more of this approach or even explore a separate project in the future. There is something truly majestic about that style. And even the percussive portions of the music display a depth of musical understanding that exceeds that of bands considered in the same paradigm. From the rhythmic structures that use multiple time signatures simultaneously, to use of jazzy dodecaphonics (12-tone), Meshuggah was, and continue to be unbound by expectation.

When taking into account Meshuggah's body of work I find Catch-33 at the forefront of my appreciation for its unconventionality, diversity, and thoughtfulness. It is held from the regard of masterpiece outside of the metal world simply by the vocals. And as I stated previously, there is a fundamental value to that style in the story. But it will be the thing that holds it down from the 5 star criteria set forth by But I believe that the listener who is up for a challenge will find a very deep and rewarding experience in the intricacies and complex build of this mammoth construction. 4 stars.

 Contradictions Collapse by MESHUGGAH album cover Studio Album, 1991
3.14 | 60 ratings

Contradictions Collapse
Meshuggah Tech/Extreme Prog Metal

Review by Luqueasaur

3 stars Thrash star, not so much for prog...: 7/10

Before I decided to review this, I opted on reading some already existing reviews to get some inspiration. With that in mind, Jjlehto's review translates perfectly what I see in this album, and I won't repeat what has already been pronounced. Instead, I'll recommend you to read his review and give my input on why CONTRADICTIONS COLLAPSE is a masterpiece, but not for progressive metal, as well on some details about the conceptuality.

Well, first things first: this isn't a Swedish band merely influenced by METALLICA's MASTER OF PUPPETS or ...AND JUSTICE FOR ALL, this is a blatant copy gone right. You can literally hear James Hetfield on the first track, Paralyzing Ignorance. But the difference is that where Lars suck as a drummer, Haake nails it.

As an authentic fan of thrash metal, I attest this groundbreaking this is for the genre. It was released in the same year thrash gained mainstream fame with METALLICA's BLACK ALBUM and MEGADETH's COUNTDOWN TO EXTINCTION, but at the same time, lost its beautiful characteristic that made it so great while underground: aggressivity and an anti-mainstream sentiment. And while the big guys of the genre, by the 90's, started to lack those characteristics, MESHUGGAH comes up and BAM! you get this crushing release. MESHUGGAH came with a very clear message: we are a true thrash band.

Now let's progress to talk about the musicianship. Boy, technicality is beyond absurd, and it sounds delightfully unique for the thrash ears. The way everything's so odd and even and changing and shifting and quick and slow and groovy and heavy and then the snares and beats get confusing... it's innovative in the thrash scene, to say the least. The talent of those guys, in special the drummer and the guitarist, is something to praise a LOT about.

Lastly, as I've made myself clear (more often than needed, I suppose), this is would be for what Pawn Hearts is for ProgArchives. Creative, refreshing, highly-rated, heavily rated. But sadly we're not at ThrashArchives. And bearing in mind this is a PROGRESSIVE focused forum, we can't really attest much progressiveness here. It's more of a "thrash with some progressive elements" than "progressive with thrash core". You can't get a distinctively prog feeling here from aside the polyrhythms and changing time signatures and insane breakdowns. I think that the fairest rating for this would be something around "3.6/5". I... might even quote Jjlehto (he's kind of becoming my hero on this Meshuggah business): "Overall, a great album! Obviously the regular progger should stay away from this. [...] fans of prog-metal this is a good work! It is still very thrashy so it depends on how metal your taste is".

 The Violent Sleep Of Reason by MESHUGGAH album cover Studio Album, 2016
3.91 | 71 ratings

The Violent Sleep Of Reason
Meshuggah Tech/Extreme Prog Metal

Review by UMUR
Special Collaborator Honorary Collaborator

5 stars "The Violent Sleep of Reason" is the 9th full-length studio album by Swedish technical extreme metal act Meshuggah. The album was released through Nuclear Blast Records in October 2016. It´s the successor to "Koloss" from 2012 and features the same lineup as the predecessor. "The Violent Sleep of Reason" is a self- produced effort. Engineering was done by prolific Danish producer/engineer Tue Madsen at Puk Studios in Denmark. The album was recorded live in the studio, with all members playing simultaneously. So it´s basically a "live in the studio" recording, but you probably wouldn´t be able to hear it if you didn´t know it. Meshuggah are one tight playing unit. A well oiled machine. And even when they do something like this, everything is still delivered with militant precision.

Stylistically "The Violent Sleep of Reason" features very few surprises if you´re already familiar with the last couple of releases by Meshuggah. Crushingly heavy downtuned angular played guitars/bass riffs, the odd fusion jazz styled guitar solo/theme, technical drumming, crazy time signatures, and Jens Kidman´s raw aggressive vocals in front. It´s safe to say they don´t step out of their comfort zone much on this album, but the quality of the material is as usual incredibly high and the band´s sound is as unique as ever. I understand if some people feel Meshuggah have stagnated and that their style has become a one-dimensional and predictable size, because in some ways that´s true, but if you listen a bit more closely to what the band have to offer, you´ll notice that they still make little tweaks to their core sound. It´s nothing that changes their overall musical style, but there is enough development to keep the listener on his/her toes and ensure that "The Violent Sleep of Reason" stands out as an individual entity in the band´s discography.

The material on the 10 track, 58:55 minutes long album is as mentioned above of a very high quality. The tracks are written in an incredibly clever way and the technical details featured on the tracks are quite stunning. That´s not unusual for Meshuggah though, and it wouldn´t be enough if the tracks weren´t powerful and memorable too. That´s fortunately the case here though, and while there are a couple of tracks which don´t stand out as much as the best tracks on the album, every track is still of a high quality. Highlight include "Born in Dissonance", "MonstroCity", and "Nostrum", but "Violent Sleep of Reason" (which features some very intriguing lead guitar melodies/themes) and the crushingly heavy and therefore aptly titled "By the Ton" also deserve a mention.

"The Violent Sleep of Reason" features a powerful, raw, and detailed sound production, and despite how it was recorded, the album features the cold, clinical, and dark atmosphere, which suits Meshuggah´s music so well. It´s still organic to a degree though, and it´s certainly not a polished and lifeless sounding production.

So they´ve done it again...created another masterful release, which defies catagorization and which just sounds unmistakably like Meshuggah. The fans will probably praise this one as they´ve praised the band´s previous efforts, while the critics will say the same as they always do. This is not an album that´ll change that. Meshuggah´s music is still as demanding and inaccessible as it´s been from day one, and "The Violent Sleep of Reason" requires as much attention from the listener as every preceding release by the band before it. But once you lock into that crushingly heavy odd-metered hypnotic groove it´ll never let go. A 5 star (100%) rating is deserved.

 The Violent Sleep Of Reason by MESHUGGAH album cover Studio Album, 2016
3.91 | 71 ratings

The Violent Sleep Of Reason
Meshuggah Tech/Extreme Prog Metal

Review by siLLy puPPy
Collaborator PSIKE & JR/F/Canterbury Teams

4 stars Chugga chugga djent djent, it's the MESHUGGAH train coming back to town and after four long years following their most accessible album of all they return in full fury with their complex tech monster bashing mix of aggressiveness unlike any other. THE VIOLENT SLEEP OF REASON (the 8th full length studio album) is chock full of all the famous time sig torture and mangled mutiny of sonic suffering. The title indicates somewhat of a loose theme that is based on Francisco Goya's painting "The Sleep Of Reason Produces Monsters" and it can be confirmed on this pummeling yet powerful 59 minute expression of brutality that they surely enter those territories and they are the kind that stimulate the senses in TOTALLY inappropriate ways. I love it!

MESHUGGAH wastes no time churning out the technical aggressiveness they've been conjuring up for a good twenty years and if you are familiar at all with the band's output then THE VIOLENT SLEEP OF REASON will not sound out of step in any way with their unique take on mutilated thrash metal that has since been designated with the nauseating term "djent" which i rather despise myself. I consider it a guitar style of playing NOT a true genre per se but i digress and nomenclature aside it is the delivery of incessant progressive and aggressive dissonance accompanied by the saturnine atmospheric tone of the brutality liturgy that really delivers a top notch edition of the MESHUGGAH world of chaotic noise and overtly angry sonicity.

THE VIOLENT SLEEP OF REASON was a blatant attempt to get out of the nitpicking neediness of the production that the band found themselves becoming slaves to and as a result this album was recorded totally live in the studio. That means all parts were recorded simultaneously by all members instead of each track separately. This does indeed give a more organic feel and yet the production is totally modern, crisp and clean and allows every little ear shattering decibelage to assault the senses. The spontaneity of what the band sounds like playing together does chime through as the album feels much like a retro 90s MESHUGGAH album i have to admit.

All in all this is a fine and dandy album that delivers all the MESHUGGAH goods and then some. The technical riff abuse is in full attack as Frederik Thordendal and Mårten Hagström are partners in crime on the dual guitar assaults and Dick Lövgren on bass and Tomas Haake on drums absolutely nail the avant-groove antics without hesitation. Jens Kidman delivers the best of his angry anti-relgious and dark cynical lyrics and vocal styles as to be expected. THE VIOLENT SLEEP OF REASON is a fine addition to the MESHUGGAH canon but personally i can't say i like this better than the cream of the crop such as their "Chaosphere" to "Nothing" remake period.

True that they keep their sound together in tact and offer an excellent slice of their homemade musical universe but at the same time they don't really offer anything new to it and with music this brutal and complex it's nice to have some variation involved such as acoustic and ambient passages that were prevalent on their earlier albums (yes there is some but not until track seven "Stifled.") So overall this will not go down as my favorite MESHUGGAH album of all time but nevertheless a very worthy avant-garde progressive thrashy groove metal album for those who have drenched themselves in the chaotic avant-garde jazz fusion techniques of dissonant metal that they churn out so well. It should go without saying that MESHUGGAH is very much an acquired taste and nothing on THE VIOLENT SLEEP OF REASON will attract new followers. If you didn't like them before, you won't like them now but if you have swallowed this Kool-aid then you can happily expect more of the same.

 The Violent Sleep Of Reason by MESHUGGAH album cover Studio Album, 2016
3.91 | 71 ratings

The Violent Sleep Of Reason
Meshuggah Tech/Extreme Prog Metal

Review by Socrathustra

5 stars I am pleasantly surprised. The two tracks released as lyric videos ahead of the album release -- Born in Dissonance and Nostrum -- were good, but they didn't stand out. Listening to the full album, however, I'm happy to report that this is one of my favorites among their albums. It has their signature bajillion-string guitar sound with an energy they haven't matched since Chaosphere. Recorded live rather than track by track, Violent Sleep feels like the musicians actually enjoyed what they were doing, and the overall quality goes way up.

Overall, my highest compliment has to go to the fact that each song feels like it PROGRESSES. As much as I like their old material, I often feel like they sit on a single riff and do slight variations on it for four to five minutes. Here, there is variation. There is contrast of the sort that, on prior albums, you would really only get by hitting the "next track" button. This pays off in spades. For other bands this might be called something akin to "normal song structure," but playing at Meshuggah's level of skill is somewhat prohibitive to having such dramatic change-ups. So where a prior Meshuggah song might go from A to A' to A'' (such as Bleed), Violent Sleep has A, B, C, etc. in a single track. I have to respect the technical skill involved in learning multiple distinct and complex patterns for a single song.

There are only two real complaints I have against the album. First, some lyrics in MonstroCity are a little cringe- worthy. That should be apparent from the title. Meshuggah has never taken themselves as seriously as one might think they do, but... come on. Thankfully the instruments are actually really good on this track, and the lyrics grow on you in spite of themselves.

Second, Ivory Tower is a boring song. It isn't until about the 3:30 mark that we get any reprieve from the unrelenting triplet bass drum. It lacks that quality of progression that I praised about the rest of the album. Maybe it's just me, but I can't stop listening to the bass drum do the same thing over and over again. This might be fine if the thing it did was interesting, but it's just slow triplet eighth notes for five minutes.

Without getting into a track-by-track, here are the highlights:

Clockworks offers a relentless opener and a high bar for the rest of album. Haake shows off his jazz influences a bit more directly here, throwing in a bit of extra hand-work that doesn't necessarily come at the end of an eight bar phrase. It's a nice change of pace from how his drumming always seems so mathematical. It's still very much that, but he allows himself more freedom. He doesn't just carry on a 1-2-3!-4 between the high hat and snare like he does on so many songs. This generally carries through the rest of the album.

By the Ton is bizarre in a good way. They experiment with chord progression pretty liberally here. I think this is the song they called "a true twelve-tone song" in an interview, meaning there's no real key signature going on here. They use everything. There's also a distinct old-fashioned sound to the guitar. It's similar to their usual djent sound, but you can tell it's running through some kind of weird amp. It's hard to describe... you'll probably have to hear it for yourself.

The title track has some nice Shed-like psychedelic noises going for it, and the solo mid-song stands out from their traditional 56k modem logging into AOL solos by being... weirder? Again, I'm not sure how to describe it.

Nostrum has some fan-freaking-tastic drum work accompanied by minimalist guitars. It's like a better Spasm.

Kidman's voice also explores some new sounds throughout to great effect. It is more raw and unrestrained than the usual monotone.

The other songs besides Ivory Tower are at least very good. Ivory Tower itself is not terrible, just exceedingly mediocre among what is in my opinion their strongest work since Chaosphere.

My recommendation: if you like this style of music -- that is, extreme metal -- this is one of the best offerings I've heard in a long time. This is some Grade A material.

Thanks to ProgLucky for the artist addition.

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