Lights - Siberia

Genre: Synthpop
Name: Lights
Album: Siberia, 2011
Stretch the horizon...

Let me begin with a brief administrative note: the instrumentals for Dream Theater's A Dramatic Turn Of Events will be up shortly after this post.

Moving on, I admit that a synthpop sophomore album from a Canadian solo outfit doesn't exactly fit in on what is primarily a metal blog, jostling in amongst My Dying Bride's latest orchestral output or Lamb of God's work; however, I've decided that I'm going to offer this to you anyway: allow you to broaden your horizons, and whatnot.

As far as synthpop goes, it's a fairly good album. However, it is a major development from Lights' older stuff. The synths now take a back seat compared to the much heavier and often more simplistic drums (note the dominance of the drums, albeit complex ones, in "And Counting...", compared to the basic background synths); this, combined with more crunchy synths and snares gives the album overall a "dirtier" feel. This is also the result of the influences from dubstep, and, to some degree, drum-and-bass, which can be found throughout the album, which, again, show a vast change from her earlier work.

Vocally, it's not as" intimate" as The Listening, Lights' first album. Partially, this is due to the lack of "closeness" produced by the music, compared to the dominance of single-line vocals in her last album; however, this is also due to the tone of lyrics (the introduction of the rapper makes this all the more notable). Compare:

"It appears that we fear our own tears
More than tear gas
My team's struggling in years past
Looking to draft beers
To bring cheers back
But when the drinking game's finished
No Guinness- just a clear glass...
It's no game
It's why we overdose on cocaine
Get our brains comatose, there's no blame"

(Everybody Breaks a Glass, Siberia)

with:

"Once in a while
I act like a child
To feel like a kid again
It gets like a prison in the body I'm living in
'Cause everyone's watching
And quick to start talking
I'm losing my innocence
Wish I were a little girl without the weight of the world"

(Pretend, The Listening)

Clearly, the subject and style of the lyrics has vastly changed, resulting in a far less "clean" world depicted in Siberia. This is not to say that there is none of Lights' traditional lyrics - the title track is evidence enough of this. It is merely worth noting the change in tone, style and content of the words.

Also, you can't talk about this album without mentioning "Day One". It's a very bizarre track. I can't source this, but I do remember reading that it's the result of some live improvisation that Lights thought could make the cut. Whether or not that's true, it's the perfect example of the harsher and dirtier sound of the album. Slower, deeper and with far more "switch" effects, this is the only instrumental song Lights has ever released, and it's odd as hell. However, as far as the album is concerned, it seems to fit, as a slightly unusual closer, which tells you more about the album than anything else.

In conclusion, therefore, I would say that Siberia is a new and interesting step for Lights. Whilst, at first, I was thrown by it, and didn't even particularly like it, it has grown on me with repeated listens, and I look forward to more. However, to go any further down this path would probably be too far; the road must be taken with slow and careful steps to avoid falling by the wayside as so many other bands have.

Hopefully, you'll enjoy this; but for those of you who don't find this to your taste, you'll be happy to know that there is more metal on the way. The clever amongst you will have already been wondering what's holding this one up, double checking your calenders and assuming that some life-threatening illness keeps me from my music; however, rest assured - it's on its way.

Bonus review: Ix Puppy xI's review run's as follows:

"Overall I would say it's a classic case of sophomore album identity crisis. There are some songs which are in her old style which are awesome and some new ones which are just as good but there are a few songs which just don't work with Lights' strengths. I hope she goes back to her old style for her next album, but for all my criticism it is still a good solid album with some really great songs.

Also, I really like the Mario reference in Timing Is Everything

Summary: Synthpop meets Drum'n'Bass, and they have a cordial conversation over a few drinks.
Rating: 8/10
Track listing:
1. Siberia
2. Where the Fence Is Low
3. Toes
4. Banner
5. Everybody Breaks a Glass
6. Heavy Rope
7. Timing Is Everything
8. Peace Sign
9. Cactus in the Valley
10. Suspension
11. Flux and Flow
12. Fourth Dimension
13. And Counting...
14. Day One
15. Frame and Focus
16. Cactus in the Valley (Acoustic Version)
17. Toes (Nightbox Remix)

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Trancelike Void - Where The Trees Can Make It Rain

Genre: Doom

Name: Trancelike Void

Album: Where The Trees Can Make It Rain (2010)

If this EP were a font, it would be Minima Sans Serif

Now, first, let me make one thing clear: I thought that trees did have some affect on precipitation. I still believe that they do, in some weird scientific way, but having been informed by the in-house fashion designer that they don't, I shall admit that I am currently losing this battle.

Onto the music. It is, to say the absolute minimum, minimalist. The bass and vocals have been scrapped, the drum kit has been coated in several layers of cotton wool and there are long periods of silence. However, it is not necessarily bad.

The opening track on this twenty-two-and-a-half minute acoustic journey has a slow, melancholy intro, with pauses, which seems repetitive, but after only one-and-a-quarter minutes you get a new theme. That's right, we've got two now! There are even drums for a while. I know, shocking, right? We then return to the original riff, which isn't actually too dissimilar from the second - it's just slower and missing one note. We then get the second riff again, in another "faster" (speed is relative) section. It is only towards the end of the tenth minute that we are shown a new idea, but we soon return to the second lick once more.

The second, and final track is similar: Within an instant you see where the guitar is going, and it simply repeats itself moving up or down an interval each time. We get a hint at a change after one-and-a-half minutes, but only for an instant, and we get three minutes of the same repeated riff. We get a new idea at 3:45, but after that, I'll admit, my attention wavered a little, and I have no further comments to make. It is just more in the same vein.

Now, don't get me wrong: I did enjoy this. The music is pleasant, if not interesting: it doesn't exactly grab you, and it certainly isn't a "blink and you'll miss it affair". There are no moments that you anticipate for the entire song: no excellent fills, no lyrical twists (no lyrics at all) and no expert guitar playing that leaves you weak at the knees. It's simplistic: there aren't even any chords underneath the melody. It is the music I would use to fall asleep (in the nicest way possible), or perhaps listen to if I needed to think deeply about something.

Having written this review, I did a little research. The Belgian duo that is Trancelike Void have supposedly done four other releases, and this is "an incredible risk for TLV. It's entirely acoustic and considerably less dark in both tone and aesthetic than its predecessors" (Courtesy of Cory from emotionallyvoided.blogspot). It appears that this is unusual for this band, and they perhaps are more prone to heavier music. I shall certainly make sure my opinions are informed, and you can anticipate a review of one of their full length releases in time.

Rating: 6/10
Summary: Peaceful, pleasant but perhaps a trifle plain.

Track Listing:
1. The Stone Pond
2. Ghost Mountain

Myspace (No songs from this EP)
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