Author Topic: Elite's top 50 albums v. - 3 Years Older: #1: love is the dance of eternity  (Read 47097 times)

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Offline ThatOneGuy2112

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Re: Elite's top 50 albums v. - 3 Years Older: #5: we wish we were dead
« Reply #560 on: April 24, 2016, 10:03:04 PM »
California and Deathconsciousness are both brilliant albums. :tup

Offline Elite

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Re: Elite's top 50 albums v. - 3 Years Older: #5: we wish we were dead
« Reply #561 on: April 25, 2016, 12:35:55 AM »
Wow, there's more people that know this album than I thought there would be!

if this had a CD release at all maybe i'd have dug into it deeper when i checked it out but even with the two full listens i gave it i remember just finding it okay anyways so

I have it on vinyl and it is glorious. It's a hard album to get into, but definitely worth the time you put into it.

I really wanted to get a vinyl version of Deathconsciousness, but it's been completely unavailable for quite some time now :(

Hell yeah, been looking to expand the 'shoegazing' corner of my music library :lol

I've seen this album being tossed around a lot on this forum so I guess I will check it out after I'm done with all the roulette albums. (Vim and Vigor is great btw :tup)

Good to hear! This isn't really shoegazing in the style of the well-known shoegaze bands, but it's got elements of it. I think the actual style on this album is pretty hard to pinpoint. That's where this next quote comes in:

‘Deathconsciousness’ is best described as an album that mixes shoegazing with ambient, post-punk, adds industrial traits and drones and is overall mixed in relatively lo-fi standards.

Favourite song: Holy Fucking Shit: 40.000

I'll pass. :lol

Yeah, I don't think you would like this :lol

I perfectly agree on your suggested songs from California!
The least uninspired track for me is The Holy Filament, the rest is incredibly brilliant and flawless.
I don't know album number 5..

I don't think The Holy Filament is that bad, it's actually quite a nice break from all the weirdness, plus it has Mike Patton singing very high falsetto. He doesn't do that anywhere else on the album really. It's a pretty unique song in their discography, because it's rather toned-down. That said, it's likely the most 'uninteresting' song on the record, but that's mostly due to the other tracks being very interesting :)
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Offline Zantera

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Re: Elite's top 50 albums v. - 3 Years Older: #5: we wish we were dead
« Reply #562 on: April 25, 2016, 02:23:25 AM »
I really wanted to get a vinyl version of Deathconsciousness, but it's been completely unavailable for quite some time now :(

I was so happy when they finally put it out on vinyl again.. last year, or was it 2014? I think it was around when they dropped their second album, and their record label put out DC on vinyl again. Not sure if there are any copies left floating out there, I think it was fairly limited.

Offline Elite

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Here comes number 4! Another polarising album and one that's likely not everybody's favourite from this particular band.

Also the top 3 is going to be disappointing :lol

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4. Godspeed You! Black Emperor - F#A#∞ (1997)



Typing out this write-up directly after the one for ‘Deathconsciousness’ proves to be a very difficult thing to do. I said so much in that last one, that I’m a bit worn-out, really. Especially since this album is quite similar to the previous one, but only In the sense that it’s pretty difficult to describe what’s going on. Truth be told, this album isn’t similar to anything else at all, except for other albums by the same band. Looking back on this list, this is the only post-rock album that made the list. I’m usually not too keen on that genre, in the sense that I don’t listen to many bands in the genre at all. Having said that, whenever I do have the urge to listen to some tracks, I usually really like what I hear. Post-rock is, to me, a genre of mostly instrumental music, that can go from very smooth atmospheres, to all-encompassing walls of sound. If you take that as the basis for the genre, this album is not really a post-rock album, actually.

‘F#A#∞’ exists in two different forms, that contain roughly the same music. Originally released in 1997, the Vinyl LP edition of this record had no track-list. The two 20-minute long sides  of the LP had the titles Nervous, Sad, Poor... and Bleak, Uncertain, Beautiful…, two titles that can not be found on the later released CD version. Both sides do not have any subtitles, but the music on both sides is not cohesive per se. The CD version took the music from the LP, added some parts, rearranged it in places and split the result into three tracks, all again roughly 20 minutes in length. The three tracks carry the titles The Dead Flag Blues, East Hastings and Providence and the CD-version actually gives titles for the sub-sections of all tracks.

It’s strange that a band decided to release the album differently on CD, especially considering the fact that the LP was the initial way they wanted this music to be heard. Granted, the LP version actually sounds a bit amateurish at points. The songs, or rather, pieces of music – I don’t think GY!BE wrote this music with the actual intention of splitting them into tracks or songs. Just the way music has to be ordered on a CD or LP gives it that formality. This would also explain the lack of track-titles on the LP-version – don’t really go anywhere and have no really progression to them. What’s to like about this album then? I’ll try to explain this in the remainder of this write-up.

I do not view this album as three different tracks, nor as an album that has two sides. In that sense, I will not comment on the tracks as such, nor give any detailed account of what actually happens in the music, because this would be an almost impossible thing to do without spoiling the track. Despite there being more music on the CD-version, I actually prefer the LP-version. Not only is it more cohesive, I feel like the CD-version adds a whole bunch of stuff that isn’t as good as the music on the LP. I’m talking specifically about a movement in Providence called ‘Dead Metheny’, a part that’s absent on the LP. I therefore like to believe that the album represented here is the LP, although both are rewarding listens in their own right.

‘F#A#∞’ got its name from the vinyl LP. The first side is supposedly in F#, the second side in A#. The infinity symbol represents a locked groove at the end of Side B, making the record technically last forever. The album is completely instrumental, although it does contain spoken word passages and ethnic field recordings. Godspeed is not really a band, but rather a musical collective that over the years has spanned as many as 15 people in total. On this record, there’s probably at least 15 people playing, including guest appearances by folks not formally in the band. This results in a very varied instrumentation which, combined with recordings of stuff (more on that later), creates a unique sound.

What I said before, that these pieces seemingly go nowhere, is mostly due to the fact that band has stuck various recordings on top of each other, creating pieces that feel disconnected as a whole, but at the same time feel very natural. Godspeed has often been called ‘apocalyptic’, because their music could so well resemble the end of the world. This hold very true for ‘F#A#∞’. The vinyl opens with bleak glissandos on string-instruments, topped with a narrator who speaks in a dark voice about the end of the world. Following this part is the sound of trains, presumably altered and slowed-down to create more haunting glissandos. The rest of the album is quite alike. Short parts of music follow each other up and as such, the pieces might feel dragged out or incoherent. I actually believe the band didn’t really intend to put a meaning behind the music, but left that for the listener to decide. In that sense, it’s very much a work of art and a very interesting listen throughout.

Excuse me for this rather lousy excuse of a write-up for an album that really deserves some explanation or praise. There’s just not really a way this album can be described accurately, it has to be experienced. The best way I can recommend is by putting on the vinyl and by lying on your bed in the dark, listening to the sounds. The locked groove at the end is very hypnotising, but all the music works greatly in this context. Let me end this write-up that I do not think that this is Godspeed’s best effort. That would be the amazing ‘Lift Yr. Skinny Fists Like Antennas to Heaven’, but this one is undoubtedly my favourite. It’s not an album I listen to often, but whenever I do, it’s a beautiful experience and unlike anything I have ever heard.

Favourite song: n/a
Other songs worth checking out: n/a
Other stuff by this band: Of the other records these guys have released, ‘Lift Yr. Skinny Fists Like Antennas To Heaven’ is my favourite and the one I know best. That one has some amazing stuff on it.
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Offline Zantera

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Amazing band with a really strong discography. LYSF is their best IMO, but F#A# was such a great debut album, and a classic. After the last few albums the top3 might be a disappointment but it might be great too. If it has DT12, Systematic Chaos and The Astonishing it will be all good.  ;)

Offline Tomislav95

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GS!BE was never really my thing but I give them a spin once in a while. I like Allelujah! Don't Bend! Ascend and Lift Your Skinny Fists Like Antennas to Heaven but I'm not sure when was the last time I listened to F#A#∞.
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Offline Sacul

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Fantastic record, and as you said, a difficult one to describe - I always wonder how those guys could even come up with what I hear. But I disagree that it has no message at all - digging through the artwork and the samples, I find it clear they talk about the end of the world as we know it, probably the collapse of society due to capitalism, or something deeper. It's quite criptic tbh, but not entirely meaningless.

For the top 3 I predict some DT album, maybe Six Degrees or SFAM. Also a Leprous record, either Bilateral or Coal. And, dunno, babymetal? :lol

Offline Train of Naught

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Awake, Bilateral and Nickelback's s/t

people on this board are actual music fans who developed taste in music and not casual listeners who are following current fashion trends and listening to only current commercial hits.

Offline Onno

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I'd say Bilateral, Six Degrees and something else.

Offline Crow

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this would be their best but providence has never done much for me, and it's like almost half the album so

right thread now suckas

Offline Kwyjibo

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Just listened on Spotify to some of the records I didn't know. Some cool stuff, some stuff that's probably not for me.

But as I listened to Holy Fucking Shit: 40.000 I thought that they must have listened to the german band Trio back in 1982:

https://www.youtube.com/watch?v=lNYcviXK4rg  ;D

Or they have an old and cheap casio keyboard for the rhythm.
Must've been Kwyji sending all the wrong songs.   ;D

Offline Elite

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It wouldn't surprise me if HANL used a cheap old casio keyabord at all :lol



this would be their best but providence has never done much for me, and it's like almost half the album so

Which is part of the reason why I stated that I prefer the vinyl edition. I realise you can't really listen to that right away, but you can. There's a couple of uploads from that version on Youtube you could try out.
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maybe I'll find the time for it sometime then yeah

Offline Elite

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Number 3, an album nobody has guessed and an album that kind of surprised me as well when it got this high in the top 50. I wouldn't have it any other way though. I don't often show my love for this record, but for some reason it feels very personal to me, even though it's ridiculously well-known and perhaps even over-sold to the point that any of this artists's posthumous releases could be questioned on their authenticity. Not this record though. Without further ado, here's the actual write-up, which I'm actually not too happy about. It's hard to write about an album that speaks to you on a deep emotional level, so rather than sum up all tracks on this records, this is more a general impression of the record, I hope.

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3. Jeff Buckley – Grace (1994)



Can an album be considered a ‘classic’ if it’s only 22 years old? And what if the singer is dead? Is this really a good album, or is it simply overhyped because of what we might have had, if Jeff Buckley didn’t die an untimely death at the young age of 30. Just too old for the famous 27 club, but for a singer-songwriter, he was certainly late at recording his debut album (which he did at, exactly, age 27).

There a few examples in popular music of a son surpassing his father in terms of popularity. While Tim Buckley certainly was the eccentric song-writer, his son Jeff (whom he has allegedly met only once) is certainly the more appealing. A fine-looking young man, who created an album to absolutely be proud of. Like with many artists that die prematurely, many (live) recordings have shown up, enough to make compilation album after compilation album – and even a couple of records full of new material. The only proper studio recording he made is this one, although a second album was released after his death, with roughly finished material polished enough to actually sound good. That one is titled ‘Sketches for my Sweetheart the Drunk’, which is a rather nice album. ‘Grace’ is better though, and that’s not only got to do with its legacy.

For some reason, I feel the intense need to have to justify this album being so high up on my list, mostly because of how very different it is from the rest of the bands listed up here. I can not do this, but I can hopefully explain why this album is this high up, especially since it’s overhyped, though critically acclaimed. David Bowie reportedly said once that ‘Grace’ was a so-called “desert island disc” for him, and probably the best record ever made. I kind of agree with him, in the sense that if I had to go to a desert island and could take only 5 CDs with me, this would be one of them. Definitely. I don’t really know what the other 4 would be, but this one would be there.

On my first top 50 list I had this compilation album by Jeff Buckley called ‘So Real: Songs From Jeff Buckley’, which is a great compilation, but it features roughly the same songs as on ‘Grace’, except that it adds a couple of new ones, has an alternate take from Eternal life and a couple of live versions instead of studio recordings. In some occasions I actually prefer listening to that one, instead of this record, but this record is obviously the real deal. Featuring 11 songs, Jeff Buckley (and his band!) go through various styles of alternative rock, but the songs border heavily on folk rock and singer-songwriter style music. Although Jeff Buckley’s name is on the cover, and he does sing and play the guitar, he has a very capable band surrounding him on this record, that adds the remainder of the instruments. Though the band doesn’t stray far from traditional rock instruments, they create rich textures nonetheless.

People do not really know this about me, but apart from my band Overhaul, I have written a bunch of songs and music and performed lots of acoustic covers live. Jeff Buckley has been an enormous inspiration for me, not only as a vocalist (I love trying to emulate his voice), but also and maybe even more so in the way he uses the guitar to write songs. Jeff Buckley was a master at creating unusual chords on his guitar an managing to make stuff sound natural and good. Listen for instance to the title-track Grace, that’s full of dissonant chords, illogical chord-progressions and brilliant melodies. I don't think Jeff Buckley ever approached the guitar (or even song-writing) from a music theoretic standpoint and the result can definitely be heard in the way his songs are structured. Great stuff.

Apart from the song-writing, probably the most notable about this album is not Buckley’s guitar-playing (which is good, but not especially ground-breaking, even though he does clearly have a signature style), but his phenomenal voice. The man could do anything, from soft vocals, to long wails, to even shouts and screams. He might not be as varied as for instance Mike Patton is, but whereas Mike Patton often sounds rather sterile or goofy, with Jeff Buckley’s voice it sounds like it comes from the heart, like he actually means what he says. Take for instance Forget Her, a track that wasn’t released initially because Jeff felt it was too personal. On this song Jeff speaks directly to you, and you can hear his sadness. Eternal Life is the other side of the spectrum; a rocking tune that got a full-blown grunge version on the aforementioned album ‘So Real’. Corpus Christi Carol then, is an odd piece on this album; an interpretation of a Benjamin Britten piece, that was in turn based on a Middle English writing. Featuring Buckley exclusively in falsetto voice, this song is almost angelic compared to the rest of the record.

‘Grace’ isn’t exactly a happy record, but it’s not necessarily sad either. I’d say it’s mostly melancholic, with the subject of the lyrics often being love, in one way or another. Perhaps the best known song from this record is not one of his own, but his cover of Leonard Cohen’s Hallelujah. This might In fact be one of those rare instances where the cover version is better known than the original. It’s a good track, but you can hear it’s not his own. His own tracks are better, more distinct and in a style that suits him better, though by all means; it’s a great cover and one worthy of all the praise it gets.

While I didn’t really get the love for ‘Grace’ or for Jeff Buckley as much, in the past couple of years it has dawned on me that I really love this album. As far as actually popular music goes, I think this is about as good as it gets, as far as I’m concerned. There is another very positive thing about this record, which doesn’t really have anything to do with quality or anything, but it still makes kind of a funny anecdote. My girlfriend and I both have very different tastes when it comes to music. This is probably one of the only records in the top 50 that she could stand to listen to. As a result, this album became the soundtrack to our first holiday together. Maybe it’s some sentimental value that put it up this high, but I don’t think that’s all of it. I just think this is song-writing at its finest and that this is one of the best albums ever. Though not exactly the ‘best’ (but what is, really), but according to this list my third favourite. I must admit, I didn’t expect this either when I started the list. It had to be like this.

Thanks for all the inspiration, for the great songs and for the beautiful voice. Like all the other people that adore this album like it’s the best thing ever, I really do wonder what would have happened had Jeff Buckley not drowned. Would there have been an even better record? Or is this record only as good because the mass hype made it that way? I don’t really think so, to be honest. It deserves all the praise it gets, because it’s definitely amazing. But so are many other albums that I probably will never hear. In fact, had Jeff Buckley not drowned, I might have never heard (of) ‘Grace’. It’s funny how those things go.

Good lord, after finishing this write-up I realised I didn’t even say a thing about the lyrics. Go look them up, they’re pure poetry. “It's never over, she's the tear that hangs inside my soul forever.”

Favourite song: Grace
Other songs worth checking out: Forget Her, So Real, Eternal Life
Other stuff by this band: Because this man died, he only released one single album. After his death, lots of stuff was released under his name though, the most notable of which a live album called ‘Mystery White Boy’. The compilation album ‘So Real: Songs From Jeff Buckley’ also features some great tracks unheard on his only record.
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Offline jakepriest

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Offline Zantera

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Grace is a good album and Buckley was a great artist but I've always found it to be a bit overrated. I'd still say it's 8/10, but beyond my general appreciation for it, I've never had any deeper love for it.

Offline Fluffy Lothario

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Mystery White Boy has some really awesome stuff on it. The Kanga Roo on that is my favourite of those I've heard, and the What Would You Say. Even the Mojo Pin is possibly better than the album version. But the production on that album's weird, which lets it down.

I don't consider Forget Her part of the actual album of Grace. I see it's been added to the end of the album, but to me, it's a bonus track.

Offline Elite

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MWB is amazing indeed, with Kanga Roo as a highlight.

With regards to Forget Her, I (only recently) learned that it wasn't supposed to be an album track, because of the personal lyrics. The version of 'Grace' I own has contains it, so I don't know any better. It's always been an album track for me. It sounds so much in line with the rest of the material too, it's obviously been recorded in the same sessions. I love the track as well and wouldn't want to exclude it.
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this i probably need to listen to at some point

Offline Elite

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The post for #2 is likely postponed until tomorrow, but there's the off-chance that it could be here tonight. Sorry, I can't do it right now :(

The aim is to post #1 before the weekend, so that this list is done by then (partly since I have a very busy weekend coming up). Expect #2 very soon, but like I said, it will most likely be tomorrow.
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Offline Elite

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And here's number 2, finally. This was actually guessed, to my surprise really. I should have known better though, people who know me know I love this record.

---

2. Leprous – Bilateral (2011)



Well, here we go. An album that’s only 5 years old, managed to become my second favourite album ever. This didn’t happen unexpectedly to be honest. Right from the bat I knew exactly which two albums would be at the top. This one, and the #1 that will soon be revealed. In the write-up for that one, I will hopefully make clear why this one isn’t placed just one spot higher, but for now, this will have to do. There will likely be a bunch of controversial opinions in this write-up, but let me start with the one that will have the most people disagreeing: this is the best progressive metal album ever made.

When I saw Leprous live for the first time in 2010, I probably should have noticed that they would become the band they are nowadays. Having released ‘Tall Poppy Syndrome’ the year before, I already knew the album because I listened to that one a lot before checking them out live. To date, I think it remains my second favourite Leprous album, though it’s been battling with ‘The Congregation’, which was released in 2015. Leprous impressed me very much live at ProgPower Europe 2010. So much, that I bought their CD, went to the signing session afterwards and I was astounded that me and a friend of mine were the only person there. This would not be possible nowadays. The band was very grateful, signed the CD and even put me and the friend on the guest list for their next show in the Netherlands. Very cool.

The above anecdote doesn’t really have anything to do with the album, but it gave me faces and people behind the music. I doubt the band would even remember this, partly due to the fact that 40% of the band has changed since then (with constant factors being guitarist Tod Oddmund Suhrke and Øystein Landsverk and keyboardist/vocalist/composer Einar Solberg). It’s this trio, mostly, that made possible the magic on ‘Bilateral’, the insanity in some songs and the restrained melodies and brooding atmospheres in others. In many ways a continuation of what Leprous did on their previous record ‘Tall Poppy Syndrome’, but improved to be even better.

‘Bilateral’ contains 10 songs, ranging in length from 2:45 to 10:21, and featuring a lot of different style. There’s short rockers (Bilateral and Cryptogenic Desires), mini prog-epics (Forced Entry and Painful Detour), ballads (Mb. Indifferentia and Acquired Taste), extreme metal influenced songs (Thorn, featuring Ihsahn formerly of Emperor, and Waste of Air) and two songs that are hard to categorise (Restless and Mediocrity Wins). Although, having written this, it’s a very trivialised account of the songs on this record.

For some reason, I did not check this album back when it was released. Despite Leprous having impressed me greatly a ProgPower Europe 2010, it wasn’t until probably a year after ‘Bilateral’ was released that I got around to checking it out. Back in 2011, I was discovering lots of other music and ‘Tall Poppy Syndrome’ was all the Leprous I needed in my life. When I eventually did try out ‘Bilateral’, I kind of wondered why I didn’t do so before, although I can also vaguely recall this album not blowing me away instantly either. There’s a couple of reasons for that, but the main reason is probably that there’s musically so much to this album that it’s impossible to hear everything that’s going on the first time you hear this. Take for instance the wacky drum-rhythms in Restless, the amazing build-up in (backing-)vocals in Mediocrity Wins and basically all of Forced Entry.

‘Bilateral’ is a very melodic (and dare I say, ‘progressive’)  album throughout, much more so than the band’s later releases ‘Coal’ and ‘The Congregation’ which focus much more on rhythmic changes, syncopations and slow melodic rhythms. Although many like to believe that the latest two albums are defining for the Leprous-sound, to me the band was much more unique in the way they treated songs on their first two record. ‘Bilateral’ was their magnum opus as far as I’m concerned, and like I said before, turned the great writing from their first record into something amazing. These melodic traits are easily heard in the two aforementioned ballad-like songs, as well as in both Painful Detour and the album’s two shortest songs.

Another aspect of this band that disappeared slightly on the two subsequent releases is their technical playing. I’m not saying that the band doesn’t know how to play anymore, but to me there’s so much amazing playing on ‘Bilateral’ that it’s hard to compare it to the more straight-forward releases. For clarification, I’m not saying that ‘Coal’ and ‘The Congregation’ are straight-forward albums, for they show a very unique style of playing, but within the songs there’s much less going on than on ‘Bilateral’. Sort-of a ‘less-is-more’-approach that works very well on those records, but that wouldn’t have worked at all on ‘Bilateral’. The technical playing is for instance apparent in my favourite Leprous song, Forced Entry, but also in the black metal inspired Waste of Air and Restless.

One more thing that deserves special mention is Einar Solberg’s magnificent voice. He can do basically anything from mellow vocals to high-pitched screams/shrieks and when his voice is not sufficient enough for the song they get Ihsahn to deliver a couple of growls in the awesomely brooding and dark Thorn. The best vocal performance on this CD would either be Forced Entry or Mb. Indifferentia if I had to choose, although there is not a single weak moment on the entire record. Seriously, that last sentences applies to all other instruments as well and to every single track. There’s no weak songs, only songs that are slightly less awesome. Having said that, Forced Entry definitely sticks out as the best tune. It’s no surprise that nowadays, even though the band rarely plays anything from their first two records, this song is always a standard in the live set. It’s a fan favourite, and for good reason.

I don’t really know what else I can say. This band was completely off the charts in the creation of this album and the result is phenomenal. A record that manages to impress even after having heard this dozens upon dozens of times. There is a thread currently on DTF that asked which album you have listened to the most in your life. I haven’t replied there yet, because the answer would be my #1, probably. In the past 4-5 years though, that can’t be anything other than ‘Bilateral’. What an album, go listen to it now.

Favourite song: Forced Entry
Other songs worth checking out: Mediocrity Wins, Mb. Indifferentia, Thorn
Other stuff by this band: I’m more of a fan of their early work, so I would recommend ‘Tall Poppy Syndrome’ first. To me, ‘Coal’ is their weakest album, but I know many people love that one, so I won’t bash it or anything. Lately, ‘The Congregation’ has been growing on me as well, that one has some excellent tunes. Overall, these guys have yet to release a bad album, everything they do is amazing and that’s why they are my favourite contemporary progressive band.
« Last Edit: April 28, 2016, 01:43:52 PM by Elite »
Hey dude slow the fuck down so we can finish together at the same time.  :biggrin:
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Offline Zantera

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I liked Leprous when I saw them live, but apart from Coal I never really got into their other albums as much (their last one was pretty good) but I guess I should try again.

Offline Elite

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I liked Leprous when I saw them live, but apart from Coal I never really got into their other albums as much (their last one was pretty good) but I guess I should try again.

I must admit that Bilateral didn't really amaze me the first time I listened to it. It's really a grower.
Hey dude slow the fuck down so we can finish together at the same time.  :biggrin:
Squ
scRa are the resultaten of sound nog bring propey

Offline Crow

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well, i was already getting this in my next album order (alongside affinity) so i'll be back to you with my opinion on this in a few months :P

Offline Sacul

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I tried to get into this album and band, but I just can't, they don't resonate with me at all.

Offline Crow

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I really dig the congregation but the listens I gave to coal it was kinda meh for me outside of the valley, I know this album is completely different from those two tho and forced entry is pretty rad

Online Evermind

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This album is on my radar. I liked The Congregation and I liked the title track from this one, so I'm going to either check it out or blind buy if I see this in a record store tomorrow.
This first band is Soen very cool swingy jazz fusion kinda stuff.

Offline Onno

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The best Leprous album. This would definitely be in my top 50 as well. It's really fantastic and yes, Forced Entry is their best song. Holy shit.

Offline Elite

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Yes, yes! I definitely agree!
Hey dude slow the fuck down so we can finish together at the same time.  :biggrin:
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Offline Elite

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So, what's #1?
Hey dude slow the fuck down so we can finish together at the same time.  :biggrin:
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Offline LordCost

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I've got nothing to add about your write up on Bilateral :tup

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Offline Tomislav95

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So, what's #1?
It's 100% not progressive metal, as you said in write-up, so we can narrow the selection. I think it is pretty old album, maybe folk or classic rock (Led Zeppelin IV?).
...the years just pass like trains
I wave but they don't slow down...

Offline home

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Bilateral is amazing indeed  :hefdaddy also my favourite album of theirs. Restless has one of my favourite music videos too  :metal
« Last Edit: April 28, 2016, 03:46:53 PM by home »
Break the mold, let's shake the ground, wreak havoc!

Offline Sacul

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I'll take some risks, probably it's none of them: Sunbather, Phantom on the Horizon, An Awesome Wave.