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Language Language. Artist: Paradeigma feat. Paradeigma feat. My Automata - Tishina vannoi komnaty My Automata - Sluchainosti My Automata - Dushevnoe sostoyanie v ozhidanii chego-to khoroshego My Automata - Pervaya Lyubov My Automata - Haraktery Paradeigma feat Topics: Cuntroll, Samsara Inc.
Artist: V. Topics: Cuntrollogy, mp3, breakcore, classicore, classic, Cuntroll, atmospheric, orchestral, Stars go down Gravity bass Yarba Feel like that feat. Anna Tess Can you feel Epicly Cat rock Good tone Bisquit soul Electronic entries. VINYL entries. Search for: Search.
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Tuesday 5 October Wednesday 6 October Thursday 7 October Friday 8 October Saturday 9 October Sunday 10 October Monday 11 October Tuesday 12 October Wednesday 13 October Thursday 14 October Friday 15 October Saturday 16 October Sunday 17 October Monday 18 October Tuesday 19 October Wednesday 20 October Thursday 21 October Friday 22 October Saturday 23 October Sunday 24 October Monday 25 October Tuesday 26 October Wednesday 27 October Thursday 28 October Friday 29 October Saturday 30 October Sunday 31 October Monday 1 November Tuesday 2 November Wednesday 3 November Thursday 4 November Friday 5 November Saturday 6 November Sunday 7 November Monday 8 November Tuesday 9 November Wednesday 10 November Thursday 11 November Friday 12 November Saturday 13 November Sunday 14 November Monday 15 November Tuesday 16 November Wednesday 17 November But that excitement was short lived because the next time I listened, I just couldn't generate that same excitement, and now it just doesn't hold my interest all the way through it.
There are a lot of high points, but the low points can weigh the entire album down too much. Before the release of the next album "Axiom", I thought the reason for the inconsistency of this album was because they needed to have a concept to give it more cohesiveness, but I soon learned that was not the case as "Axiom" was a concept album, but still missed the mark, and I was disappointed right away with that album.
Things would get better, but this seemed to be a pattern with the band at this point, some great material, some mediocre and some just plain boring and repetitive.
As far as this album, overall, the low points seem to outweigh the high points. This is probably Archive's most progressive release so far. Progressive not in the sense of Progressive Rock it's probably the album with the least "Rock" in Archive's discography , but in terms of progression in sound and structure; a demonstration that on Album Nr. This album, although in many ways still radiating Archive as we know them, definitely feels different.
It is more electronic, more machine beat driven, darker and the individual songs often deviate from the initial path they started on. And this is what makes this album one of the most interesting, exciting and rewarding Archive albums to listen to.
There are surprises lurking around every beat and harmony keeping the listener engaged from the first to the last second. It is definitely an album requiring undivided attention and concentration - or in other words this is a typical headphone album I would say. Highly recommended to the open minded Archive fan!
On first listen, I was totally fascinated. It was like a merger of Porcupine Tree with bleep bloop- era Radiohead, simultaneously being rocky and groove-ridden as electronic and intricate. So naturally, I put it straight in my 'regular rotation' playlist, as I thought it would be a record I needed to listen to a bit more. But strangely, the more I listened to it, the more it stopped being interesting and started being really, really annoying. Parts I once considered great now frustrate me to no end, and some parts I'm left wondering what I even liked about it at all.
The compositions were so rooted in repetition of annoying fragments, very little in terms of strong melodies or ideas, and the idea of listening to it again makes me more nauseous than exciting. And strangely enough, on Restriction, I've sort of had the opposite happen. On first listen, I felt the same way that I felt about With Us Until You're Dead at the end - this is lazy, uninteresting music that puts about as much effort into the songs as they do life into the performances.
All the songs sounded like B-sides from a band like The Gathering, songs that have little blips of goodness in them, but overall just don't stand up on their own to be called 'songs'. But now that I've given it a bit more time, it's actually grown on me quite a bit, to the point where I'd nearly call it a 'good album'.
It still has that feeling of laziness to it, and some of the tracks are utterly maddening, but there is more good than bad here, and at times the album's actually surprisingly solid. The best part of the album happens at the end of the first half, with the run of 'End of Our Days' through to 'Half Built Houses', with Archive playing three of the best songs of their modern era in quick succession, all being slow, solemn, melodic songs. After a poor start to the album, 'End of Our Days' comes in with beautiful piano and vocals, but the track is really made by the fantastic use of vocal samples as ambience, creating beautiful layers of layers of sound during the song's climax.
This then leads into 'Third Quarter Storm', another very soft ballad track, using the male vocalists this time, and proves that Archive can write some really nice melodies when they need to, there's some more great vocal layering here, and the song breaks into a thick synth section which is honestly the first time Archive do something electronic that doesn't sound uninspired.
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