... and encoding is fucked up; I do DTP somewhat and familiar with the issue, but it's just AARGHHH!!!
What does that mean ?
Guess the font doesn't support the letters Å, Ä and Ö.
I don't think it's a matter of "needing to work on riffs." In a world of virtuoso, in your face metal guitarists, I find the cooperative, musical guitar work here refreshing.I think the band really needs to work on the riffs because with some exceptions (Shadow in Our Blood, Dream Oblvion and Her Silent Language), the riffs are essentially the same throughout the entire album. And I don't like that, and for me it's worse when you see that all those riffs are with the damn 'riff-pause-riff-pause' rhythm (chugging?). It's certainly a nice rhythm and it sounded great on Terminus, but the band overdid this time, and IMO it's a plague present in the entire album.
You realize those two do a lot (maybe most, I'm not sure) of the writing? If they're under-utilized, it's got a lot to do with their musical decisions. Two of Niklas' tracks, Inside the Particle Storm and Iridium, come to mind. Neither one has awesome riffs, but excellent full-bodied compositions loaded with power.I'm trying to be as objective as possible since DT is my favourite band, and with such talented guitarists as Niklas and Martin H. (who, I noticed, cut his hair), it's sad to see that their talent is not been fully used.
It could be said that this album lacks some aggression for this reason. It's different, but I think you'll come around.The keyboards are excellent, simply brilliant. Yet the band is relying too much on the keyboards, and when doing so undermining the guitars.
Hmm, I find them simpler than Fiction. Definitely simpler than the insane breakdown in Empty Me. Like other instruments, there's a much greater focus on cooperation here. As usual, more on the complexity of this work in the other thread...Anders's playing is excellent, his lines are much more complex than on Fiction (which, as you know, has a very 'old-school' drumming style). I noticed more variations in the playing, which is great!
This had better be a special DT-only scale, whose '0' is roughly around 99 on the main musical scale.Overall, I'd give the album an 80/100. This score can obviously change, though I'm pretty sure it'd stay in the 80s.
I don't think it's a matter of "needing to work on riffs." In a world of virtuoso, in your face metal guitarists, I find the cooperative, musical guitar work here refreshing.
Not to reignite the "chugging" debate, but those riffs are incredibly complex (The Fatalist), woven wonderfully in with the rest of the instruments (The Grandest Accusation), and used for incredible and unique effect (I Am the Void).
You realize those two do a lot (maybe most, I'm not sure) of the writing? If they're under-utilized, it's got a lot to do with their musical decisions. Two of Niklas' tracks, Inside the Particle Storm and Iridium, come to mind. Neither one has awesome riffs, but excellent full-bodied compositions loaded with power.
Two incredible guitarists choosing to put the music ahead of showmanship really says something about them as artists.
It could be said that this album lacks some aggression for this reason. It's different, but I think you'll come around.
Hmm, I find them simpler than Fiction. Definitely simpler than the insane breakdown in Empty Me. Like other instruments, there's a much greater focus on cooperation here. As usual, more on the complexity of this work in the other thread...
This had better be a special DT-only scale, whose '0' is roughly around 99 on the main musical scale.
Don't make me come down there.
Well, I got my pre-order shirt combo.
Inside was a letter saying due to a busy tour schedule, they were unable to get the books signed in time for the order. However, it says they will be shipping the autographed booklet the week of 3/15
And the drums are certainly more complex than on Fiction, there're a lot more tempo/rhythm changes.
Time shifts like the ones on this album aren't terribly difficult. They're mostly doubling or halving time, which basically means playing the same time differently. There's a huge exception for the breakdown in HSL, but still, nothing near the huge amount of complex time signatures on older albums.
That said, I'm retracting my statement for a different reason. While the album doesn't have a lot of the extremely developed signature parts in the breakdowns, the fills (which were largely improvised) are pretty amazing. The dexterity is phenomenal. It sounds like some kind of hybrid cheetah/octopus behind the kit.
in my opinion:
too clean = flat
fiction = way to flat
WATV = perhaps best prod ever....
as always, subjective. But i think the trashier songs would fall flat with an even cleaner production.
You might be right about the thrashier songs, I didn't think about that. I really loved the "flat" production on Fiction, but I also liked the "deeper" sound of Character - and yet something on WAtV bothers me. I even went and listened through Character once again to try and note the difference between it and WAtV, and while the lead guitar solos on Character sound weaker, I just somehow like its sound overall better than that of WAtV. It's not a big deal, but on certain songs, like Iridium, the overall "muddiness"(?) of the sound distracts me a bit. It's certainly subjective, but I fail to understand what exactly makes me feel this way.
Can someone more sound engineer-savvy than me explain, what is the difference between the production on Character and WAtV? Or is the song-material between those two albums so different that a relatively similar production has different results?
With that out of the way, I really don't have any other complaints of We Are the Void, and I certainly disagree with all those who say this is too close to their previous work or somehow derivative - I really think the gap between Fiction and We Are the Void is larger than any the band has crossed since the leap between The Mind's I and Projector. Yes, I'd argue the steps from Skydancer to The Gallery or from Projector to Haven are smaller than this latest one.
As for favorite songs, several stand out for me, but at the moment the foremost of them is Arkhangelsk, which just might have the most beautiful keyboard-melody I've ever heard. Some of the tracks I liked a lot on the first playthrough have fallen into the shadow of other not-so-immediately attractive songs I've steadily grown to like more and more. Surface the Infinite is a good example of the former: it was among my favorites after the first listening, but now it feels almost mediocre (still not bad). And yet The Fatalist remains as one of the high points of the album, even though I felt so already when I heard the chorus for the first time. I don't like the album as a whole as much as I loved Fiction (and still do), but We Are the Void is a very strong and - above all - unique album in the band's catalogue, no matter what the detractors might say.
-Villain