Reviews (Mind Cemeteries)

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"I know that it's not an album easy to listen to, or easy to assimilate, not even a simple task to discover in its essence. But when one reaches the core of the matter, 'Mind Cemeteries' becomes irresistible. Just to let you know, since the 15 days I have that album, I cannot stop listening to it."

Source: http://puroruido.blogspot.de/2016/09/coma-cluster-void-mind-cemeteries.html

Año: 2016
Sello: Independiente
País de origen: Internacional

Venía siguiéndole los pasos a esta banda, y puntualmente, a la edición de éste disco. Había leído alguna que otra gacetilla de prensa circulando por ahí, había escuchado alguna que otra canción, y con eso me alcanzaba para entusiasmarme bastante, algo que no me suele suceder a menudo últimamente. Por eso, apenas la gente de Mind Eraser PR me hicieron llegar el disco en formato digital, no tardé ni un minuto a ponerme a escucharlo. Yo sabía que iba a encontrarme con un buen disco, tenía esa sensación. Pero, lo que no sabía es que iba a encontrarme con un álbum descomunal.
La banda creada hace 3 años por John Strieder (guitarrista y eximio compositor avantgarde) y Sylvia Hinz (del exquisito ensamble XelmYa) nos pone contra la pared con un disco al cual hay que escuchar desde todas las perspectivas posibles, pues contiene aristas que abren universos sonoros en diferentes puntos, constantemente y sin previo aviso. Junto a estos 2 fabulosos músicos, están otras luminarias como Mike Di Salvo en voz (sí, el tipo que canta en los geniales "Whisper Supremacy" y "And Then You'll Beg" de Cryptopsy), su co-equiper en la otra voz Austin Taylor (integrante de esa interesante banda llamada Dimensionless), y Chris Borrows en batería (excelente percusionista, al cual pueden disfrutar en muy buenas bandas como Vihaan y Thoren). Y por si les resulta poco, ahí están Lord Worm (otro ex-cantante de Cryptopsy) y Will Smith de Artificial Brain, colaborando en algunas composiciones. Sí, un verdadero dream team para todo aquel que gusta tanto del Metal Extremo como de los sonidos más progresivos y experimentales. Con nombres como éstos ¿acaso podría haber fallado algo? No, jamás. De hecho, acá no hay falla alguna.
Los han comparado (ilusamente) con Wormed, mas hacerlo no es una buena idea. Veamos, Coma Cluster Void se mueven dentro de un espectro tan amplio como moderno, sobre todo en lo estructural y en la forma de tocar y usar sus instrumentos. En ese aspecto, podría nombrar a bandas como Gorguts, Meshuggah, The Dillinger Escape Plan, Deathspell Omega y Discordance Axis, todos grupos disímiles entre sí, pero que, de una manera u otra, comparten algunas cualidades intrínsecas a sus propios estilos; todos son grupos originales, vanguardistas y desafiantes. Coma Cluster Void deben ser puestos en la misma bolsa, créanme.
La vasta variedad de ritmos sincopados, que van desde los tresillos ejecutados a toda velocidad, a los ritmos trabados y de ahí a arrebatos de Jazz filtrándose en medio del caos. La guitarra de 10 cuerdas explotando en graves tremebundos, contrastando a su vez con disonancias tan eléctricas como temblorosas. El bajo apoyando con un buen gusto encomiable, además de recorrer el diapasón con una destreza inhumana. Las voces colisionando en medio del ensamble de instrumentos, como dos universos similares que se encuentran en el choque para terminar convirtiéndose en una sola cosa y varias cosas a la vez. "Mind Cemeteries" es un sismo que sacude hasta los cimientos y los resquebraja. Es un ataque electro-químico en medio del cerebro del oyente.
Hay quienes los llaman Technical Death Metal. Otros prefieren el término Math Metal. Algunos optan por ponerles la etiqueta Avantgarde Extreme Metal. Pónganle la etiqueta que quieran a este grupo, pues lo concreto es que, a la larga o a la corta, van a tener que inventar una nueva para clasificarlos. En todo caso, y en lugar de pensar cuál etiqueta es la más propicia para clasificar a éste exquisito combo, mejor escuchen gemas como "Drowning Into Sorrow" (el track más "ganchero" del disco), "Everything Is Meant To Kill Us" (con la participación de Lord Worm en voz) y "Mind Cemeteries" (con el aporte de Will Smith en voces). No, mejor no me hagan caso y escuchen el disco entero. Sé que no es un álbum fácil de escuchar, ni fácil de asimilar, ni siquiera es tarea sencilla descubrirlo en su esencia. Pero, cuando uno llega al núcleo de la cuestión, ahí "Mind Cemeteries" se vuelve irresistible. Díganmelo a mí, que hace 15 días que no paro de escucharlo.

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"Coma Cluster Void have definitely delivered one of the most groundbreaking albums of the year."

Source: http://www.gitarrebass.musikmachen.de/Magazine/GITARRE-BASS/2016/10

Online Version without review: http://www.gitarrebass.de/workshops/extended-range-guitars/

Was ein Instrument mit 9 oder 10 Saiten wirklich braucht, sind Querdenker. Unkonventionelle Künstler, die nicht "nur" technisch fähig sind, diese gigantischen Gitarren zu beherrschen, sondern auch kreativ dazu in der Lage, die Range spannend zu nutzen. Und da fällt mir nur ein Beispiel ein: Coma Cluster Void.

Empfehlung des Monats
Coma Cluster Void 'Mind Cemeteries'

Auch wenn ich den Mund damit rech voll nehme, dürfte es sich bei diesem Album um die mit Abstand extremste und gleichzeitig experimentellste Empfehlung handeln, die ich an dieser Stelle je aussprechen werde. Das Fundament, auf dem 'Mind Cemeteries' basiert, ist progressiver Death Metal der Marke Gorguts oder Cryptopsy. Mit Letztgenannten teilen sich Coma Cluster Void auch den ehemaligen Sänger Mike DiSalvo. Dominiert von John Strieders dissonantem 10 String-Gitarrenspiel nd den, wie die Band sie nennt, "Anti-Grooves" von Drummer Chris Burrows, bricht 'Mind Cemeteries' jedoch mit so vielen Konventionen, dass eine lange Aufmerksamkeitsspanne und ein starkes Nervenkostüm absolut notwendig sind. Anders lässt sich dieses Werk weder erfassen noch aushalten. Wer sich durch das sperrig-zerfahrene und teils geradezu schmerzhaft atonale Werk dieser Visionäre durchbeißen kann, wir allerdings mit einem Hörerlebnis belohnt, dass seines Gleichen sucht. Doch selbst hartgesottene Metaller dürften sich an 'Mind Cemeteries' wohl eher die Zähne ausbeißen. Für mich haben Coma Cluster Void mit ihrem Debüt aber definitiv eines der wegweistendsten Alben des Jahres abgeliefert.

 

Source: http://www.themonolith.com/music/review-coma-cluster-void-mind-cemeteries/

Sometimes you find yourself at a place in your musical journey where you’re so fazed by death metal and its so-called brutality that a song called “Hammer Smashed Face” could just as well be a spa facial. In those times, you tend to need something that truly pushes the boundaries of the genre.

If that sounds familiar, consider yourself invited to take a wander into Mind Cemeteries, the debut album from Coma Cluster Void, a multinational, avant-garde death metal band reminiscent of latter day Gorguts with even less melodic content.

The amount of atonal, aggressive and dissonant music Coma Cluster Void have crammed into this album is staggering. Even the customary interludes and quieter parts of the album never give you respite: rather, they’re a quiet dread; the calm before an especially ravaging storm.

These qualities become increasingly understandable when you keep in mind that John Strieder, the band’s ten-string guitarist and main composer, is himself the composer of some incredibly challenging post-modern compositions, as well as the man behind the unsettling string arrangements on War From A Harlots Mouth´s swansong album Voyeur.

The usage of a ten-string guitar may lead the uninitiated to expect djent and neatly programmed drums but, luckily for those tired of djentrification, that’s not the case. Mind Cemeteries features the (in)human drumming skills of Chris Burrows, making sure the percussion matches the oppressive, sometimes claustrophobic atmosphere of the string section. Bassist Sylvia Hinz, unfortunately gets largely lost in the mix, which is understandable when sitting opposite a low-tuned ten-string guitar, but it’s still unfortunate as it would have been very interesting to see what she could have added to the album’s sound. She does provide her skill on double bass recorder for the interlude “I See Through Your Pain” and on the album closer “As I Walk Amongst the Sick” though, bringing another sonic element into the album.

Despite the music being at times quite impenetrable and atonal, i’s still incredibly memorable; there are riffs across the record that are (dare I say it?) quite catchy, including the blast beat section from “Drowning Into Sorrow” amongst a plethora of choice cuts.

The vocals, provided in a dual attack formation by former Cryptopsy frontman Mike DiSalvo and Austin Taylor, tend to stray from the cliched low grumbling noises most common in the death metal arsenal. The dramatic shouting of “Path of Lies”, as well as “Petrified Tears” in its entirety, are true standout moments – the latter includes panicked shouts, spoken word and even a little clean singing, which takes nothing away from the intensity. Taking even more of this more vulnerable/mentally unstable style, also found on closer “Epilogue: As I Walk Amongst The Sick“, and spreading it across the album really would have brought the album up to a new level in its entirety.

Mind Cemeteries may not be an album you’ll listen to every day and sing along to but sweet mother of atonality is it worth a listen. Actually scratch that – it’s worth several. Mind Cemeteries is a dense fucker of an album and you’ll need time to dig your claws into it – before the void reaches back and digs into you in return.

Jón writer banner Jan 2015

Source: http://www.pyramidnoise.co.uk/blog/comaclustervoid-mindcemeteries

How much you like your spleen?  I mean, you don't need it, do you? Can you get on quite fine without it?  You may want to say goodbye just in case, as listening to the debut release from international avant-garde death metal band Coma Cluster Void, Mind Cemeteries, may see yours liquidized into a fine, meaty paste.  Utilizing chthonic abominations of science (also known as 10 string guitars) the quintet, featuring ex-Cryptopsy vocalist Mike DiSalvo, have crafted a pummeling, miasmic slab of death metal that is as cerebral as it is crushing, twisting the modern technical formula to create something quite special.

 Coma Cluster Void are a high technical band, but not in the same flashy school as Beyond Creation(not that there's anything wrong with that) but something far more subtle. Using their considerable technical muscle, the band have created a series of chaotic soundscapes that merge the off-kilter, coiling syncopation of modern progressive bands like Meshuggah with the dissonant riffmanship of Dysrhythmia, Gorguts and Artificial Brain. Mind-bending, angular riffing articulated with a mathcore feel, meet the menacing drones of the hyper-extended range of the guitar of John Strieder to create a chaotic explosion of metal that is dripping with atmosphere.  Mind Cemeteries can best be described as the sound your brain would make as is being sucked through a black hole to some vast, non-Euclidian plane. Something that I didn’t think I needed in my life until now.

It must have been all too tempting to use the ten-string guitar as a gimmick in a world of the “more strings arms race” that is going on in metal music at the moment. While this behemoth of an instrument may be a defining feature of the band, its lower notes are used tastefully, rather than excessively. As it turns out, the slightly off-tune drone of a string tuned that low is goddamn terrifying; a gargling, menacing sound that used to great effect throughout Mind Cemeteries to make it as unsettling of an album as cosmically possible.

The rhythm section of Chris Burrows on drums and Sylvia Hinz on bass prove a time-traveling powerhouse as they lay down the otherworldly grooves that make the foundation of the band. Sylvia’s habit of playing a flipped right string bass as a left-handed player (without re-ordering the strings) creates some unusual and incredibly dynamic intervallic playing that simply adds to the sense of slight “wrongness” to the whole album. Chris acts as something of the rhythmic shamanic-guide of the band; navigating through the labyrinthine structure of Coma Cluster Void’s music with expert precision.

Vocal duties are handled by Mike DiSalvo, previously of Cryptopsy, and Austin Taylor; a beastly pair if ever there was one. Their grunts, roars, yelps and screams help glue the complete chaos of the instrumentation together, though only barely. The pair focuses lyrically on themes of death and destruction, but on a cosmic scale. Tracks such as Everything Is Meant to Kill Us takes Lovecraft’s de-anthropocentric view of reality and applies it to the death metal formula, with lyrics like:

Judgment is disappearing.
And the sun is dissipating.
Yet the fallen have arisen.
I have finally awakened.
To the stench of all the long lost memories.
Clogging up the mind cemeteries.
Feeding off the parasite.

It sounds almost Chtuluian to me, certainly something far greater than simple murder.

So, is your spleen a worthwhile sacrifice to listen to Coma Cluster Void? Undoubtedly yes. What Coma Cluster Void have crafted here is a unique, difficult but intensely tasteful and rewarding metal album. It may seem off to describe anything on Mind Cemeteries as “tasteful”, given its pure insanity, but honestly Coma Cluster Void show a great deal of restraint here. Tempting as it would be to over-use the lower notes of the ten string or overplay the instrument and turn the album into a self-indulgent shred-fest, they do no such thing. Despite the incredible ability of all those on Mind Cemeteries, the song always comes first, with the building sense of Lovecraftian horror coming in at a close second. Mind Cemeteries is highly recommended to all those looking for something a little different and a little out there in the metal world.