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Автор: west, 24 июля 2009, Комментариев: 0, Просмотров: 3 115The Agonist - Lullabies For The Dormant Mind 2009
Исполнитель: The Agonist
Альбом: Lullabies For The Dormant Mind
Год выпуска: 2009
Лейбл: Century Media Records
Жанр: Melodic Death Metal, Metalcore
Формат: FLAC [tracks|log|cue]
Размер: 376 MB
Залито на: Depositfiles, Bitroad
Альбом: Lullabies For The Dormant Mind
Год выпуска: 2009
Лейбл: Century Media Records
Жанр: Melodic Death Metal, Metalcore
Формат: FLAC [tracks|log|cue]
Размер: 376 MB
Залито на: Depositfiles, Bitroad
Треклист:
01. The Tempest (The Sirens Song The Banshees Cry) ( 4:46)
02. And Their Eulogies Sang Me To Sleep ( 3:32)
03. Thank You, Pain ( 3:44)
04. Birds Elope With The Sun ( 4:29)
05. Waiting Out The Winter ( 4:03)
06. Martyr Art ( 4:31)
07. Globus Hystericus ( 3:41)
08. Swan Lake (A Capella) ( 2:54)
09. The Sentient ( 3:40)
10. When The Bough Breaks ( 4:13)
11. Chlorpromazine ( 4:08)
01. The Tempest (The Sirens Song The Banshees Cry) ( 4:46)
02. And Their Eulogies Sang Me To Sleep ( 3:32)
03. Thank You, Pain ( 3:44)
04. Birds Elope With The Sun ( 4:29)
05. Waiting Out The Winter ( 4:03)
06. Martyr Art ( 4:31)
07. Globus Hystericus ( 3:41)
08. Swan Lake (A Capella) ( 2:54)
09. The Sentient ( 3:40)
10. When The Bough Breaks ( 4:13)
11. Chlorpromazine ( 4:08)
Gotta hand it to the Agonist: they’ve taken a now very familiar template (cute female singer + metalcore) and turned it into something more expansive, slightly deranged, far more off-the-cuff than one would expect. Their 2007 debut, Only Once Imagined failed to leave much of a mark, but Lullabies For the Dormant Mind strikes early and often, and is sure to arouse many based on singer Allisa White-Gluz’s banshee roars and devilishly elegant persona.
Like the new God Forbid, this thing is ugly (what’s up with that, by the way?) and it skips past the now rudimentary Swede-melodies so many of the Agonist’s peers are drawn to. Aside from White-Gluz, the real star here is guitarist Danny Marino, whose intricate, shape-shifting riffs keep this album in motion, just refer to his riff gymnastics in “…And Their Elegies Sang Me To Sleep” (the groove riff at 2:41 is a keeper) and “The Sentient.”
White-Gluz’s vocals dominate most of the album and she relies heavily on her growls, which are slightly stronger than her clean vocals. Her background harmonies are quite solid (see: “The Tempest” and “Thank You, Pain”) and should be exploited to a greater degree down the road, methinks, as they have some serious potential when paired with more melodic ventures.
Thanks to our good friends at Century Media, we were provided with the lyrics and it reads more like deranged (savage?) poetry than your run-of-the-mill, pissing-in-the-wind prose that usually comes from a band with a chick at the helm. Clearly, a lot of thought went into these and it’s becoming a lost art nowadays, even though following along amidst the battering-ram music was a task onto itself.
Not sure how this one is going to land, as it eschews the radio-friendly vibes of label-mates In This Moment, isn’t frontloaded with Swedish death metal heritage (i.e. Arch Enemy) and is without any pandering, pointless pretense (i.e. the thousands of female-fronted Goth metal acts). White-Gluz alone makes this an easy sell, but bands like the Agonist that diametrically oppose the sway of current metal trends are often met with furrowed brows and scratched heads. Good for them – people need to be challenged. Quality stuff.
Like the new God Forbid, this thing is ugly (what’s up with that, by the way?) and it skips past the now rudimentary Swede-melodies so many of the Agonist’s peers are drawn to. Aside from White-Gluz, the real star here is guitarist Danny Marino, whose intricate, shape-shifting riffs keep this album in motion, just refer to his riff gymnastics in “…And Their Elegies Sang Me To Sleep” (the groove riff at 2:41 is a keeper) and “The Sentient.”
White-Gluz’s vocals dominate most of the album and she relies heavily on her growls, which are slightly stronger than her clean vocals. Her background harmonies are quite solid (see: “The Tempest” and “Thank You, Pain”) and should be exploited to a greater degree down the road, methinks, as they have some serious potential when paired with more melodic ventures.
Thanks to our good friends at Century Media, we were provided with the lyrics and it reads more like deranged (savage?) poetry than your run-of-the-mill, pissing-in-the-wind prose that usually comes from a band with a chick at the helm. Clearly, a lot of thought went into these and it’s becoming a lost art nowadays, even though following along amidst the battering-ram music was a task onto itself.
Not sure how this one is going to land, as it eschews the radio-friendly vibes of label-mates In This Moment, isn’t frontloaded with Swedish death metal heritage (i.e. Arch Enemy) and is without any pandering, pointless pretense (i.e. the thousands of female-fronted Goth metal acts). White-Gluz alone makes this an easy sell, but bands like the Agonist that diametrically oppose the sway of current metal trends are often met with furrowed brows and scratched heads. Good for them – people need to be challenged. Quality stuff.
On the Agonist's first album, 2007's Once Only Imagined, most of the truly memorable musical fireworks were ignited by vocalist Alissa White-Glutz and her uniquely accomplished beauty-and-the-beast duality; all that her bandmates were capable of doing in response was echoing those moodswings with generic melodic metalcore. So the pressure to improve and diversify was obviously on the boys when time came for the Agonist to record their second album, Lullabies for the Dormant Mind, which, before you even ask, does find White-Glutz firing on all cylinders, once again. The good news is that, this time, so are guitarist Danny Marino, bassist Chris Kells, and drummer Simon McKay, who must have taken a crash course in "Advanced Metallic Subgenres" or something, because they are finally able to break out of those melodic metalcore shackles and put their substantial instrumental talents to good use behind their formidable frontwoman. As a result, highlights amidst standouts such as "The Tempest," "Thank You Pain," "Waiting Out the Winter," and "The Sentient" manage to frame White-Glutz's alternating bouts of sweetness and savagery with backdrops built from some of the most extreme heavy metal styles in existence: death metal, black metal, even grindcore! Simultaneously, the Agonist repeatedly interjects keyboards, both synthetic and straight-up piano, into most all of these songs, thus bringing the sophistication of classically inspired songwriting even unto the most chaotic of thrash-outs. The sheer schizophrenia of it all may prove a little disorienting, at first, but by the time we roll past the halfway mark, even the raga-flavored midsection of "Chlorpromazine" and the seemingly preposterous "Swan Lake" passage sung a cappella by White-Glutz seem to work in the context of the album's fearsomely eclectic creative wingspan. Not bad for a band that seemed to be hopelessly mired in a deteriorating subgenre just two years earlier; Lullabies for the Dormant Mind sees the Agonist rising to the challenge of topping themselves.
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