First review to come from Oz by freelance journo
Frantic Bleep
The Sense Apparatus
Elitist Records/Earache Records/Shock Records Distribution
In its short existence so far, Elitist Records (Who were established in 2002 by ex-Candlelight Records owner Lee Barrett, and distributed through Earache Records) have really showcased some interesting and different metal acts compared to some of the more established labels.
Most of their ventures have been inspiring forward thinking pieces of art (In particular Ephel Duath, Wolverine and Without Face) that defy all standard definitions of metal, which in turn has ensured that nearly everything they release is different, challenging and unique sounding.
And once again, Elitist Records have unearthed another stunner in rather strangely named Norwegian (Kongsvinger) act Frantic Bleep.
Founded in 2001, the initial line up of the band consisted of guitarist/keyboardist Patrick Scantlebury, guitarist Øyvind Sundstrøm and drummer Karl Arthur Renstrøm. In 2002, the group enlisted the services of Madder Mortem bassist/vocalist Paul Mozart Bjørke to help with the recording process of their self produced four track demo E.P. Fluctuadmission, which was well received, and eventually led to the deal with Elitist Records.
Prior to the recording of their debut full-length album The Sense Apparatus, Renstrrm decided to move on due to personal reasons, with Stein Erik Svendheim taking over the sticks within the band, which has pushed the release of this album from a 2004 release to an inevitable 2005 release. The wait, however, has been more than worth it.
From the first listen, you can tell that isnt something that can be quickly judged. The many layers encasing all nine of the albums tracks take time to peel away and digest, and even then its still hard to pin down just what the individual will make of it all.
The opening minute and a half long A Survey is a monolithic crush of heavy doom like riffing, and purposely serves as a compelling introduction to the manic follow up number The Expulsion. And this is where things really take on a different turn. The technically bewildering riff that opens soon dissipates into melodic patches with a mix of both clean (Bringing to mind latter day Katatonia) and manipulated death metal growls from Bjørke, which not only makes it hard to pin down description wise, but also in the broader genre sense.
Sins Of Omission is a definite stand out with some truly outstanding and cleverly constructed vocal passages woven over a piano and guitar soundtrack (Which again is in stark contrast structure wise to the previous track), while But A Memory easily brings to the surface both Opeth (Musically) and Mike Patton (Vocally) influences.
Those same eclectic influences continue through the sparse sound effect laden/vocally dominated (And Mr. Bungle) sounding Mausolos, while the manic Curtainraiser moves from the melodic to the crazed and back again, without sounding disjointed or forced for the sake of it.
Mandaughter (Reprised from the E.P. Fluctadmission) sees the return of the black metal growls with a thickened riff reprisal of the opener A Survey mixed throughout, while the huge sounding Nebolous Termini confuses once again with a distinctly progressive soundtrack blended with black metal growls, and amazingly constructed interchanging Mike Patton/Borknagar chorus structures.
Not unlike where the journey begins, so it too ends with the return of the doom like atmospheric closer Cone, which inevitably trails off into the distance from where it first began.
I wouldnt be surprised at all to see that upon hearing Frantic Bleeps debut album, everyone hears completely different influences and inevitably taking from the album different elements that they connect with as the songs spread themselves across a wide appeal base.
Frantic Bleep is primarily a progressive act in the pure sense (In the Solefald sense, rather than the black/death metal tag inaccurately labelled upon the band more often than not). Rather than simply follow the masses, this four piece really do take their ideas as far as the imagination will go with total disregard of peoples perceptions of what progressive music is.
The Sense Apparatus is complex, diverse, at times even avant-garde, but its also captivating, original and stunningly innovative in equal measure.
Frantic Bleep
The Sense Apparatus
Elitist Records/Earache Records/Shock Records Distribution
In its short existence so far, Elitist Records (Who were established in 2002 by ex-Candlelight Records owner Lee Barrett, and distributed through Earache Records) have really showcased some interesting and different metal acts compared to some of the more established labels.
Most of their ventures have been inspiring forward thinking pieces of art (In particular Ephel Duath, Wolverine and Without Face) that defy all standard definitions of metal, which in turn has ensured that nearly everything they release is different, challenging and unique sounding.
And once again, Elitist Records have unearthed another stunner in rather strangely named Norwegian (Kongsvinger) act Frantic Bleep.
Founded in 2001, the initial line up of the band consisted of guitarist/keyboardist Patrick Scantlebury, guitarist Øyvind Sundstrøm and drummer Karl Arthur Renstrøm. In 2002, the group enlisted the services of Madder Mortem bassist/vocalist Paul Mozart Bjørke to help with the recording process of their self produced four track demo E.P. Fluctuadmission, which was well received, and eventually led to the deal with Elitist Records.
Prior to the recording of their debut full-length album The Sense Apparatus, Renstrrm decided to move on due to personal reasons, with Stein Erik Svendheim taking over the sticks within the band, which has pushed the release of this album from a 2004 release to an inevitable 2005 release. The wait, however, has been more than worth it.
From the first listen, you can tell that isnt something that can be quickly judged. The many layers encasing all nine of the albums tracks take time to peel away and digest, and even then its still hard to pin down just what the individual will make of it all.
The opening minute and a half long A Survey is a monolithic crush of heavy doom like riffing, and purposely serves as a compelling introduction to the manic follow up number The Expulsion. And this is where things really take on a different turn. The technically bewildering riff that opens soon dissipates into melodic patches with a mix of both clean (Bringing to mind latter day Katatonia) and manipulated death metal growls from Bjørke, which not only makes it hard to pin down description wise, but also in the broader genre sense.
Sins Of Omission is a definite stand out with some truly outstanding and cleverly constructed vocal passages woven over a piano and guitar soundtrack (Which again is in stark contrast structure wise to the previous track), while But A Memory easily brings to the surface both Opeth (Musically) and Mike Patton (Vocally) influences.
Those same eclectic influences continue through the sparse sound effect laden/vocally dominated (And Mr. Bungle) sounding Mausolos, while the manic Curtainraiser moves from the melodic to the crazed and back again, without sounding disjointed or forced for the sake of it.
Mandaughter (Reprised from the E.P. Fluctadmission) sees the return of the black metal growls with a thickened riff reprisal of the opener A Survey mixed throughout, while the huge sounding Nebolous Termini confuses once again with a distinctly progressive soundtrack blended with black metal growls, and amazingly constructed interchanging Mike Patton/Borknagar chorus structures.
Not unlike where the journey begins, so it too ends with the return of the doom like atmospheric closer Cone, which inevitably trails off into the distance from where it first began.
I wouldnt be surprised at all to see that upon hearing Frantic Bleeps debut album, everyone hears completely different influences and inevitably taking from the album different elements that they connect with as the songs spread themselves across a wide appeal base.
Frantic Bleep is primarily a progressive act in the pure sense (In the Solefald sense, rather than the black/death metal tag inaccurately labelled upon the band more often than not). Rather than simply follow the masses, this four piece really do take their ideas as far as the imagination will go with total disregard of peoples perceptions of what progressive music is.
The Sense Apparatus is complex, diverse, at times even avant-garde, but its also captivating, original and stunningly innovative in equal measure.
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