Farmakon album reviews

Review in Rave magazine:
"Finnish quartet Farmakon have only been together as a group for around 18 months or so, and the UK's Elitist Records, which is a sub label of the legendary Earache Records, were quick to sign this young band after hearing two tracks. These guys have produced quite a technical and diverse sounding album that at the same time, does show them wearing their influences boldy on their collective sleeves.
For quite a fair amount of both the music and the vocal style of Marko Eskola, it's very easy to see that these guys are quite heavily influenced by Sweden's Opeth. There is a fine line between showing your influence and almost copying them and with this album, they sometimes overstep that mark. However, the odd curve ball or three is thrown at the listener as songs move to and from anything suchs as a jazz breakdown to thrash to even some Mr. Bungle type patterns.
This is an impressive debut even with the aforementioned obvious influences throughout its 9 tracks. A Warm Glimpse is exactly as the title suggests - a glimpse into the potential that this band has. Hopefully, this album will become merely a starting point for these guys to really show their true potential by moving forward and truly defining themselves musically whilst moving further away from the sounds and styles of those who influenced them". ***1/2
 
From http://www.geocities.com/metal_metalus/areviews.html
I'll paste it here because it's a pain in the ass the find from the page. And because this is such a hilarious one :)

Farmakon
A Warm Glimpse
Elitist
I’m speechless. Utterly, catatonically fucking speechless. What sort of people are Farmakon, anyway? Nasty, evil headfuck ones that any right thinking people would stop from going anywhere near music ever again if ‘A Warm Glimpse’ is anything to go by. Jazz, melodic thrash, alt.rock (aka them bits what sound like Jane’s Addiction) all come at the same time from all angles to try and make the listener feel as if they’ve just been buggered by an elephant while sticking magnets in their ears.
This is a pain in the arse of a record that makes Tool look like a kids recorder class in terms of obtuseness. It’s simultaneously enjoyable and wrist slashingly annoying. It’s fantastic, but at the same time you find yourself wanting to take the fucker out of your CD player and use it as a Frisbee just to make it STOP! And therein lies the ultimate charm. A record so challenging that you’d be prepared to have a fight with yourself over whether it’s good or not.
Fancy an internal bust up, then? Buy this album.
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