Year : 2012
Genre : avant-garde, experimental, jazz, tropical, metal, swing, opera
Label : Candlelight Records
Origin : Sweden
Rating : 6.5 / 10
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Introductory note : this review was written by a latex gimp who had no information and related awareness of the existence of the Devil Swing Orchestra whatsoever, and, as such, this here criticism below of said ensemble's latest delivery primarily is constructed on the highly false assumption that DSO is a commercially engineered band that just popped into existence under the Sun to bank in on current experimental trends, which obviously is not the case at all, at all. While the review remains in the form it was originally shaped into as by he gimp, the reading of the comments to the article is highly recommended for the full experience.
SPECIAL!! Discount is applied to a wide selection of tools you can hit the gimp with! SPECIAL!!
With its latest delivery to date, Diablo Swing Orchestra emerges to claim a piece of the cake that is conceptualized and grandiosely realized by Canada's Unexpect, ALAS!, the tremendous intent behind this particular record represents a fuel tank of relevantly tamer full capacity than that of its focal inspirator. Do you think that it is unfair to compare this disc to Unexpect's Fables of a Sleepless Empire? Then kindly, take a look at the track titles, I'm begging you : Unexpect : Unsolved Ideas of a Distorted Guest. Diablo Swing Orchestra : The Exit Strategy of a Wrecking Ball. Cool, huh? Mine will be : The Parallel Lamentations of an Entangled Gas Giant. Look for it here, later on.
DSO's latest is a commercially engineered market-reaction to linked Canadian release in the sense that it shows mixed results - from stellar to tepid agony - at bringing you the rampant consistency that is necessarily "expectable", given its experimental, rabid opening tendencies. Do not judge a book by its cover. The fabric of this full length shows quite a few spots which on it loses all origin of steam and evident elegance it had earlier, and, while I realize that it is not a mandatory expectation to be steamrolled all the way through, I personally still tend to think that this kind of music looks best when it does that, anyway. Can't handle it anymore? Give it a thorough rest and come back with a fresh set of ears to be blown away again. Pretty pretty pretty please with strawberry syrup and chocolate confetti on top, don't try to serve me out with ball-lacking headvoice man-singing about your stock-emotional torments after a superb song just to deviate from a much more relevant narrative ethos, I'm begging you. Notice : this temper of music, when it reigns in its relentless premiere juggernaught-form, is only one story under technical death metal in its aggression, and not at all under it when scrutinized from the aspect of super-complexity.
As such, without further introductory sentiments I'm going to tell you right away that I think this release, with a set of mildly but steadily distorted ambitions-, a non-proper concept of its own functions and some non-tasteful genre incorporation - more on those in a second - weighs in as a tolerable disappointment. Not that there is any other kind of disappointment, in the long run. Read on to find out more about this legendarily overdirected and overambitious album that wants to be twice as relevant as it ever had the promise to.
The disc starts out superstrongly, with a rendition of Bertold Brechtian thrills and glooms in an evil swing Mac The Knife/Tiger Lillies register, intoxicated even more by Mr. Bungle's psychedelic circus vibe, and add beefed up metal pleasantries - like gargantuan rhythm guitars and rhythm guitars-gargantuan - to make it a whole experience of legitimate, top of the heat sonic hilarity. Had the album bring this form and efficiency/elegance of music all the way through, I would be vastly impressed by it. Unfortunately, the case herein is not such at all, - 75% of work = opening track, 25% of work = rest of the album, hell, yeah, I'm in douché mode - as the disc exhibits persistent propensity to slow down after the opening track, first "entertaining you" with overwritten-, over-instrumentalized retroid cuban-jazz quasi-nonsense "Guerrila Laments", then, with "Kevlar Sweethearts". Herein, the first tint of profound/elegant gloom is revealed, and this is the moment by which the Unexpect affectation becomes evident, in my opinion. This song also marks the moment on which the "Desperado" vibe of the musical developments showcase its presence for the first time. From this point on, Speedy Gonzales always sits on your shoulder armed with a trumpet. Do you want a tazer with that? Once again, the lead female singing reeks Unexpect - only the Canadians maintain the right to tear your mind out any second, - and they do - while this track maintains the right to turn you into a bull in the center of an arena. Hell, this does not look good at all. The hook of the song is on the trail of shameless effect crave, reeking so smarmy tendencies that those make Nightwish produce a red face in embarrassment.
Black Box Messiah brings the fray up to a decent intensity for two and a half minutes again, then, during the next track, the renowned "Exit Strategy of a Wrecking Ball", - see related Bruce Springsteen solo album herein - a guy sings emotionally about his sexually transferred disease, at least it sounds to me like that. Nah, in reality he sings about : "I came to erase you." Wow. OK. The song shows signs - this is not written by me, by the way - top tier mid-tempo promises in its structure, - minus obtrusive-ornamentic genre-affectation - with an especially strong endgame to it, and believe me when I say to you that it does not make me happy at all that it is the endsequence of the song that I have to compliment. Other than that, the various genre-antics that litter its fabric without legitimate function to them, are degrading the overall landscape of the music, in my opinion. And yes, I'm not too anxious to hear the male lead singing again, as it conveys nothing but STD to me. This is a related mindhack.
There are Opera songs on the disc, too, but I can't offer an opinion on those, because, once the lead opera singer lady starts to declare, my body hits the floor and starts to spazz violently, and returns back to normal only when the song is over. So, sorry about that. Now, seriously : the incorporation of opera is a narcissistic overkill in my opinion, and I indeed can't listen to it for more than five seconds. It's an act of appreciation-seeking. As result of this, it won't get anything else than tame disdain and stoic resistance from me. Diablo Swing Orchestra's "Aurora" is the most disturbing song of the year so far for me, and you'll need to PayPal me 5 USD each time you want proof that I have successfully listened to the track all the way through.
Well, there are some more statements on the disc, but it does not really get all that much - if any - better throughout them, I'm afraid. The opera element, unfortunately is prolonged unto the remaining disc-proceedings, and I recall I could not listen to the very last song all the way through, either, as I got drowned twice in the middle of it. I understand where this record is coming from via its premiere intentions, and I realize that there is an audience that finds the overall results superb, but I think they are in delusion and failing to notice that they are being led by their noses by a vastly inferior copycat band of Canadian Unexpect. Unexpect's Fables of a Sleepless Empire eats this release any minute of the day without ever needing to adjust the posture of either. Diablo Swing Orchestra - Pandora's Vaseline Basin : The epitome of overdirected experimental "meh".
Except for the stupendous opening track.
Rating : 6.5 / 10
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