http://www.sputnikmusic.com/album.php?albumid=47820
4.5/5.0
Summary: Martriden's 2010 release is a great example of what a band can do when they're not bound by a label. Striking a delicate balance between progressive and black, "Encounter The Monolith" marks a highlight for the year.
I'm starting my tenth listen of Martriden's newest release, “Encounter The Monolith”, and I'm still not sure what to expect. Only two official releases and one EP into their career, and Martriden have released an opus that pushes the limits of what “metal” is to be considered as. The songwriting and work put into this release is blatantly apparent, to the point where reviewing this becomes so much more than stating my opinion. You see, Martriden write music that, in cases such as “Human Error?”, feel more worthy of a concert hall attended by society's high life than a simple “concert”.
But enough of that, let's get to the music. As you read this review, you're either forming one of two questions. For the majority of metal heads, it will be: “What's Martriden?”. A smaller group of you will be asking “How does this compare to their EP?”. Martriden is a band that really can't be classified. “The Unsettling Dark” was a definite blackened album, while their self titled EP and “Encounter The Monolith” switch styles with such fluidity and prose that they really can't be fixed to any number of labels. One thing that they definitely are not is boring. Hailing from the snow steeped, far flung reaches of... Montana, United States, this group of talented musicians and composers are again doing what they do best, releasing complex and mind-boggling metal.
“Encounter the Monolith” marks Martriden's departure from Candlelight records, who released their debut full length. This also sees them returning to what they do best, writing a small amount songs, and instilling in each of them a constant state of metamorphosis. Although this album contains only six tracks, there is not a moment in this 45.2 minute release that I ever considered pushing that skip button. Since Martriden has gone with songs averaging seven minutes in length, the tracks switch styles and moods, swinging like a multi-faceted pendulum through waves of stylistic changes. For example, “Heywood R. Floyd” starts off with a delicious, death metal styled section, complete with tight riffing and drumming. At 1:24 enters into some of their signature riffing, the kind that really gets the listener nodding along. But before all this heaviness could become even remotely close to overbearing, the 2:20 brings along with it a delicious interlude, complete with an interesting guitar lead. Martriden's ability to keep up rigorous stops and starts in their style like this is a hallmark achievement.
This is by no means an “easy listen”. Although it makes no attempt to be the fastest, loudest, or most offensive band, the sheer complexity of their songwriting is daunting. Probably the most direct song here is “Human Error?”, but one that is far from a low point. This song features some drop dead beautiful use of keyboards, the kind that makes the listener pause in whatever it is that he or she is doing, and take in the moment. None of the songs on here feature solos, and although this may be a rarity in the metal styles, they are never really missed here. Nothing else on this album yields to the norms of the metal community, and the lack of solos just makes this striating effect even more obvious.
One of the best parts of this album may be the fact that Martriden tries things in this album that just plain haven't been heard before. One great example of this is the sliding sound usually heard when a guitarist slides his or her hand across the strings, usually heard when the guitarist is trying to switch chords quickly. This is actually used in the song “The Three Metamorphoses”, and instead of just being a mistake in the production, it undergoes its own evolution throughout the song. Another personal favorite of mine is the title track where towards the end, they enter into their fade-out. Or at least, that's what it seems like. Perfectly timed to the speed at which “lame fade-out” syndrome becomes eminent, the drums latch onto a beat, and fade back in, bringing the guitars with them. Moments like these are plentiful and perfectly placed throughout the album, and used in a manner that will keep this album feeling new and inventive for a long time to come.
The drummer has always been a personal highlight for me, and after his stunning performance in their EP, I was eager to hear him in this release. Although he doesn't gain the spotlight like he has in the past, anything more than just a casual listen will reveal just how talented and skillful he is. The guitars don't hold the “jazzy” feel that songs like “The Art of Death Infernal” featured, but still remain a tad catchier than most metal offerings of this day and age. The vocalist may be the hardest to place. Sticking mainly to the black metal rasp, he throws in his own variations that are really just to hard to describe with words.
To close off this review, Martriden has released an album that absolutely cannot be missed by anyone, really. Not just holding appeal for metal heads, “Encounter the Monolith” transcends mere musical classifications, combines jazz, metal, orchestra, opera, and more into a manifesto of modern death metal.
Pros:
Excellent production
Depth of the album
50 min long, and never gets old
Cons:
Can take a few listens to “get into to”
Will make listening to other albums painful