Manes - How the World Came to an End
Candlelight - CDL275 - May 7th, 2007
By Michael Koger
Manes' latest album, How the World Came to an End, will more than likely make a lot of people mad. With the release of their second album, Vilosophe, Manes went in the same direction as fellow countrymen Ulver and Dodheimsgard, adopting a more electronic sound and shedding off their confining black metal skins. The only difference being Ulver were rather successful at it, as was Dodheimsgard for a while, but Manes are still searching for the right sound they want to adopt.
How the World Came to An End wanders in and out of trip hop, electronica, industrial and a host of other genres. This could be where the major fault of the album lies; it is too disjointed and doesn't really have much cohesiveness to it. 'Deeprooted', the first track, kicks things off in an urban/industrial feel. It is definitely the standout track for the album. The song seems like the opening to some huge sci fi movie, and it was also the track chosen to be the single for the album. Even though it is the best track of the album, it is not at all indicative of the rest of the album which may startle listeners upon first hearing the entire album. Unfortunately, the vibe quickly deteriorates with the second track, 'Come to Pass', which is, in every shape and form, a rap song. The lyrics weave in and out of English and some other language (I'm guessing French or Norwegian, but I'm probably wrong). It's not even the fact that it's a rap song, but the fact that it disrupts the feeling created by the first track is what rattles me. 'I Watch You Fall' briefly saves some of the grace the previous track lost until the last third of the track incorporates some of the rap vocals used in 'Come to Pass'. The opening vocals on 'I Watch You Fall' actually remind me somewhat of Sting. The urban feel and funky synthesizer lines return on 'A Cancer In Our Midst (Plague One)'. Second to last track, 'Transmigrant', sounds like an Arcturus track gone terribly wrong. Coming to a close, the album ends on a less than spectacular note with the song, 'Son of Night Brother of Sleep', which ultimately leaves this listener without a sense of closure.
The realm of experimental music is a very treacherous one. The albums produced are either postmodern works of art or exercises in snobbish sophistry. Manes have the potential to really produce a work of art that is extremely entertaining, but they fall short not very far into the album. If they can focus and really hone in on a sound, then the outcome should be fantastic. Instead, they draw influences from a plethora of genres, and the result is a disjointed mish mash of songs. Fans of Ulver, Atrox, Red Harvest and DHG may be curious to look into How the World Came to An End. A follow-up album is already in the works titled, Be All End All, and it will be interesting to see which direction Manes decides to go with on that album and if they stick with that direction for the entire duration of that album.
Official Manes Website
Manes on Myspace
Official Candlelight Records USA Website
Candlelight - CDL275 - May 7th, 2007
By Michael Koger
Manes' latest album, How the World Came to an End, will more than likely make a lot of people mad. With the release of their second album, Vilosophe, Manes went in the same direction as fellow countrymen Ulver and Dodheimsgard, adopting a more electronic sound and shedding off their confining black metal skins. The only difference being Ulver were rather successful at it, as was Dodheimsgard for a while, but Manes are still searching for the right sound they want to adopt.
How the World Came to An End wanders in and out of trip hop, electronica, industrial and a host of other genres. This could be where the major fault of the album lies; it is too disjointed and doesn't really have much cohesiveness to it. 'Deeprooted', the first track, kicks things off in an urban/industrial feel. It is definitely the standout track for the album. The song seems like the opening to some huge sci fi movie, and it was also the track chosen to be the single for the album. Even though it is the best track of the album, it is not at all indicative of the rest of the album which may startle listeners upon first hearing the entire album. Unfortunately, the vibe quickly deteriorates with the second track, 'Come to Pass', which is, in every shape and form, a rap song. The lyrics weave in and out of English and some other language (I'm guessing French or Norwegian, but I'm probably wrong). It's not even the fact that it's a rap song, but the fact that it disrupts the feeling created by the first track is what rattles me. 'I Watch You Fall' briefly saves some of the grace the previous track lost until the last third of the track incorporates some of the rap vocals used in 'Come to Pass'. The opening vocals on 'I Watch You Fall' actually remind me somewhat of Sting. The urban feel and funky synthesizer lines return on 'A Cancer In Our Midst (Plague One)'. Second to last track, 'Transmigrant', sounds like an Arcturus track gone terribly wrong. Coming to a close, the album ends on a less than spectacular note with the song, 'Son of Night Brother of Sleep', which ultimately leaves this listener without a sense of closure.
The realm of experimental music is a very treacherous one. The albums produced are either postmodern works of art or exercises in snobbish sophistry. Manes have the potential to really produce a work of art that is extremely entertaining, but they fall short not very far into the album. If they can focus and really hone in on a sound, then the outcome should be fantastic. Instead, they draw influences from a plethora of genres, and the result is a disjointed mish mash of songs. Fans of Ulver, Atrox, Red Harvest and DHG may be curious to look into How the World Came to An End. A follow-up album is already in the works titled, Be All End All, and it will be interesting to see which direction Manes decides to go with on that album and if they stick with that direction for the entire duration of that album.
Official Manes Website
Manes on Myspace
Official Candlelight Records USA Website
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