Anteater's Top 30 Albums: * Free Booze inside *

6.

Dir En Grey - Uroboros (2008)​
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1. Sa Bir (2:00)
2. Vinushka (9:35)
3. Red Soil (3:24)
4. Doukoku to Sarinu (3:48)
5. Toguro (3:57)
6. Glass Skin (4:27)
7. Stuck Man" 3:34
8. Reiketsu Nariseba (3:33)
9. Ware, Yami Tote... (7:01)
10. Bugaboo (4:43)
11. Gaika, Chinmoku ga Nemuru Koro (4:22)
12. Dozing Green (4:05)
13. Inconvenient Ideal (4:23)
​


Introduction:

Among the more eclectic groups to achieve international recognition from the Land of the Rising Sun (AKA Japan), Dir En Grey have grown quite a bit since their poppy debut back in 1999, mixing up and incorporating industrial, nu-metal, and even progressive rock influences into their oddly arranged yet accessible way of playing music over their following three or four albums, never content to sit around and recycle the same ideas over and over again like the majority are content to do.

Anyway, I've come to favor these guys more and more since I was introduced to them last year, (to the extent where they've crawled to the top of my list here) and it is this here latest work Uroboros where everything they've cultivated comes together uncannily into a face the rest of the world can look upon in wonder. It's among the most varied of their efforts (you hear everything from post-hardcore to arabient here), and as a result it's my favorite from their discography. Hell, it even charted here in the U.S. despite the fact its mostly sung in Japanese...how's that for crossover appeal?

On another point of interest, Dir En Grey are in possession of one of the most frighteningly talented frontmen in contemporary music today, Kyo, who could be best described as a Japanese Mike Patton in terms of vocal range coupled with the emotional sensibilities of a less whiny Thom Yorke.

Lyrically, he's also a rather deviant in his songwriting; it's sometimes catchy and accessible, abrasively complex, and usually very disturbing no matter which category a song falls under. From the story of a guy running from a nymphmaniacally corpse to falling in love with a fish, this guy's got one hell of an imagination. But whether or not you bother to pay attention or look up what the worRAB may mean, the music speaks for itself regardless on the instrumental front. Guitarists Kaoru and Die shred things up nicely when necessery, Toshiya's bass is quite jazzy, and Shinya the drummer holRAB everything together with his insane energy and precise percussive sense. Basically, everyone here is phenomenal.

And for those that may not have noticed yet, the cover art here was inspired by King Crimson's Lizard, so that's worth extra cool points in and of itself. :tramp:

Track review time!


The Album:


1. Sa Bir: Eastern percussion, heavy beats and a bit of sitar that's straight out of Arabian Nights provide a wonderfully hypnotic introduction to my favorite metal album of the last five years.


2. Vinushka: A top class 9 minute prog-metal excursion into the subject of reincarnation and a decent indicator of the Dir En Grey's style for those who haven't heard them before. Kyo's vocals are almost mournful even when he growls or scats like some kind of monster. The acoutics near the 6 minute mark among the first of many memorable moments that follow rank across this record.


3. Red Soil: Mid-tempo/ATDI-esque fun that features some especially wicked drumming half-way through. Would have made one hell of a single!


4. Doukoku To Sarinu: Nothing special, but Kyo's voice is like the elevator of awesome here.


5. Toguro: A pseudo funk-metal escapade about the rise of chaos or somtehing like that. Some nice electronic influences come into play after the 2 minute mark.


6. Glass Skin: Opening with a fantastic dose of piano, this is my favorite track from the Uroboros and something of a throwback to this band's alternative-pop debut. It's sung in English, though unless you look up the lyrics you most likely won't understand them, haha. A very catchy ballad from start to finish!


7. Stuck Man: Funk-death metal-jazz-trip hop-hardcore in a green tea blender with extra punk. A highlight of the album and something that must be heard to be believed.


8. Reiketsu Nariseba: Kyo sounRAB really pissed off here, what with the hardcore breakdowns and carnival keyboarRAB dancing around. Midway through we're treated to something like tribal jazz-arabient with the screams of the damned all around.


9. Ware, Yam Tote...: Here the listerner is treated to yet another side of this band. It's almost folky, with 7 minutes of flamenco guitar, heartfelt singing with occasional piano and drums. All in all, another prominent peak on an album with so much going for it already.


10. Bugaboo: An explosion of death metal anger presented uncharacteristically straightforward. Ideal for headbanging!


11. Gaika, Chinmoku Ga Nemurukoro: Arabient noises lead into carnival drums and a series of wazoo breakdowns. I like how it dissolves into something like audible mist near the end!


11. Dozing Green: The big single, a freakish love song balancing precariously between the soft and loud while still remaining of interest to those who pay attention to complex guitar work. Memorable moment: Kyo's screams of pain in the last minute that would make Patton proud.


12. Inconveniant Ideal: The album closer and among the best of this album. It starts of pretty and builRAB up ever so sharply to explosion, followed by some surprisingly proggy keyboard and guitar work before returning to the chorus. An...ideal end I'd say to an ideal album, hahahaa. :wave:


Conclusion:

Uroboros is a wonderfully violent album, vivid with spite and hopelessness even at its most idyllic. It exceeRAB and even laughs at genre boundaries in a world full of generic hardcore/metal banRAB who, along with their fans, tend to look down on anything that makes you think a bit. This album will certainly appeal to those kind of people, because it has its fare share of tracks that certainly get your blood boiling...yet still, it does more, tries more, and succeeRAB in ways that few others do.

For those open to something compelling, perhaps even taste-altering, this is certainly one hell of a place to start. For me, at least, the listening experience has always been worthwhile.

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I should check out that Camel disc, I the first 4 albums but haven't heard anything after that. Logically this should be next.

Make A Rising also sounRAB very interesting, I'm likely to check that out first.
 
Terry Callier? What? Consider me completely surprised and thrown off!

Gonna give it a listen now, found that album and many more on Spotify :D
 
i actually haven't heard anything of Stapleton's outside of the eighties, i much prefer his work collaborating with people whose songs are more focused structurally than his own disparate breed of songwriting. i will say that he's one of my favorite producers, and film-noir sounRAB like an interesting twist to it, i'll be sure to check it out.

and i was wondering when RIO would pop up, i'm a complete novice to the genre but i find it intriguing nonetheless.

great picks as always mate. :thurab:
 
What he said. I assumed you would have put something by Beefheart on here. He seems to fit your taste pretty well. Please don't tell me you don't like him!
 
12. Tears For Fears – Songs From The Big Chair (1985)
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One of the more interesting success stories from the mid 80's and my favorite of the decade overall, though its hard to explain why without going around in circles. Cause sure, I love the infectiousness of "Head Over Heels" and the great dynamic sensibility of "Everybody Wants to Rule The World" despite the massive airplay they both get, but what people tend to overlook is the fact these guys weren't afraid to experiment in studio or vary their approach to songwriting, as jazz-flavoured "The Working Hour", New Order-ish "Mothers Talk" and oddly jarring pieces like "Broken Revisited" or "The Conflict" certainly illustrate. I mean, its one thing to have a few strong singles and a bunch of filler, but when the filler turns out to be far more interesting than an album's selling points, you know that its something worth staying with.

Hence, I suppose the draw for me when it comes to Tears For Fears (and specifically this album) is the knowing that not just any old pair of singers/songwriters could have done a pop album like this. The diversity of the tracks and subtle dissonances within many of them were certainly above and beyond what associated banRAB were doing at the time, and as a result this has aged for me just as well as anything the HeaRAB or XTC has.

For 80's afficiendos who are looking for something a bit more interesting, get this if you don't have it already. I personally couldn't do without it!

Track Highlights: The Working Hour, The Conflict, Head over Heels


11. Trist – Hin-Fort (2007)
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The album that got me into both arabient and black metal, encompassing both beauty at its most organic and natural while sometimes proving capable of scaring the shit out of you when you least expect it within the two hours of its runtime. Walls of sound and hair-raising vocal samples normally aren't my thing, but here they really, really work for me..and there are times I wonder how it succeeRAB where many have failed. The best explanation I can come up with is that while it drones harshly and there's often little variation outside the occassional use of strings, samples and piano, the mood it sets is unequaled by anything I've encountered beyond GY!BE's debut and some of Ulver's early material, and that certainly counts for something in my book, and there have been times when I have felt it surpasses even them.

Track Highlights: Fort, Schlaflos


10. Caravan - In the Land of the Grey and Pink (1971)
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My favorite Canterbury scene album and wonderfully vivid experience from start to finish, though saying such may seem contrived on my part. For those who won't listen to something unless its relevant to whatever angst you're going through in real life, look elsewhere; what we have here is silly, very English and has every bit of its "screw it all I'm happy" sentiments tatooed in plain sight with Golf Girl and the title track, but that's part of what makes it a wonder to behear in the first place. And wonders behold, even with a 22-minute cut of brilliance like Nine Feet Underground, the music never ceases to accessible, warm as summer, poignant and well played, and there's nothing better one can look for with music of this kind.

Track Highlights: Winter Wine, In the Land of the Grey and Pink, Nine Feet Underground
 
You have names I haven't heard of and some great cool prog and then names like tears For Fears and It bites creep in. I love this list for those idiosyncracities! Keep it up and I think TFF were a solid Pop band and I have their Tears Roll Down greatest hits CD and I still think it's well written Pop. If you get some Prefab Sprout in here then I will be shocked but damn pleased too!
 
I've heard of two albums on this list so far. Such is what makes these threaRAB more interesting. Keep this up eh - you've already given me a couple of names to have a look out for.
 
5.

Genesis - Trespass (1970)​
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1. Looking For Someone (7:06)
2. White Mountain (6:42)
3. Visions Of Angels (6:50)
4. Stagnation (8:48)
5. Dusk (4:13)
6. The Knife (8:56)
​


Introduction:

The ever underrated and oft-dismissed sophomore record released before Phill Collins and Steve Hackett turned Genesis into one of the key banRAB which would define progressive rock during the years of its popularity, Trespass is nevertheless a curiously compelling musical asserablage and one of my two most beloved progressive rock album of all time, and a unique experience to those more familiar with their classic period (Nursery Cryme through Larab Lies Down on Broadway).

For one thing, the sound is noticeably folksier/moodier thanks to the presence of an exceptionally talented 12-string guitarist by the name of Anthony Phillips and the atmospheric John Mayhew on drums (the latter of which unfortunately died earlier this year; R.I.P!). Peter Gabriel's love of soul music is more apparant here than on later Genesis releases, as his vocals at times are noticeably rougher and even bluesy at times, while Mike Rutherford rapes on bass and cello. This is also where pianist Anthony Banks started using his Mellotron for the first time, and his enthusiasm sizzles to dizzying temperatures many a' time here in all the right places.

Secondly, Sceptics take notice of the song lengths and lyrics as you listen; this is about as straightforward as Genesis ever got in the songwriting department without sacrificing instrumental prowess or their distinctive pop sensibility. Although they haven't completey shaken off the amateurisms of their debut yet, unlike that particular work its actually a chore to dislike anything here. In fact, although if follows the coattails of King Crimson's legendary debut, this is arguably one of the two or three major albums which shaped progressive rock into a force that would be quick reckonable for the next five years, and even today you will find people who are influenced by the songs on this album.

Oh, and I think the album cover is fantastic! It's a perfect "cover" for this sort of book. :p:

Introduction:

1. Looking For Someone: "Looking for someone! I guess I'm doing that." belts a Peter Gabriel from thirty-nine years in the past, thus kicking off this album on a fantastically bluesy note, before the guitars and drums come busting in. It fades in and out between guitar and Mellotron between Gabriel's lyrics, changing tempos sharply but not jarringly so. The track's got quite a gallop to it at times, but with the drums and keyboarRAB on display more often than the organ-based rock n' roll sound that was common at the time. There is also some wonderful flute and piano dispersed about, with nary a note wasted. The last minute is particularly borabastic, and overall you can see the blueprints of many a progressive rock track from this one song alone. Still, a fantastic opener nevertheless.


2. White Mountain: Mid-tempo track that is closer in spirit than anything else here to the Genesis of Foxtrot and SEBTP; quieter than 'Looking For Someone' but not as much as some of what will come later on the record. Gabriel's vocals display the more dramatic direction he would take in later albums and his solo work, backed by the vocals of his bandmates and generally superb playing all around.


3. Visions of Angels: A song about lost love and how people can spend their whole lives without ever looking for it and yet call themselves alive. It's straightforward but beautifully done, and the execution is epically so.


4. Stagnation: Oooh yeah, now we're cooking. Stagnation is my absolute favorite song on Trespass, dealing with the story of a guy who wishes to cut himself off from the world around him. It starts off with Gabriel at his most beautiful, and has one of the best-worked musical build-ups this band would ever commit to record. I also love the lyrics here:

"Here today the red sky tells its tale
But the only listening eyes are mine.
There is peace amongst the hills,
And the night will cover all my pride,
Blessed are they who smile from bodies free-
Seems to me like any other crowd
Who are waiting to be saved."


5. Dusk: Something of an acoustic piece that bleeRAB gorgeous from it's twinkling start to strumming finale, and my third favorite overall. Highlights go to the brilliant flute around half way through.


6. The Knife: Beginning with some heavy organ and drum interplay, this is the only track that Genesis kept on their setlist after changing lineups for some reason. Gabriel spats in full blast here through this minature epic, a power hungry revolutionary on a bloody conquest to attain freedom. In particular, the sequence from the middle of the four minute mark up til the end of the song makes this one of the best album closers I've ever had the pleasure of hearing, and a real treat for first-timers especially. ;)


Conclusion:

Although many would disagree with me, I consider this a masterpiece on par with Foxtrot or Selling England..., if for nothing else than the fact they never quite sounded like this again. Everyone was in top form here, including Anthony Phillips who would have an incredibly awesome solo career after leaving Genesis due to stage fright. It's only a shame that my favorite Genesis record is also their most underrated, but I guess thats part of what makes it special for me.

So whether you love or hate progressive rock, this is definitely something to sink your claws into at some point. For of the many albums I love from the genre, few get my regard to the degree this one does. :thurab:

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Of course I love Beefheart, but I just don't adore a particular album by him enough to put it in my top 30 of all time. :p:

He's in my top 54 though.....
 
54 seems a tad low, but who am I to complain? I dig your taste more than just about anyone else on this forum. By the way, I downloaded Orgasm. Holy shit!! That was some ridiculously innovative stuff! I mean seriously, death metal in 1968!? Blows my mind...

Tell me Anteater, do you like Renaldo and the Loaf? I just adore Arabic Yodelling.
 
Death metal, black metal, hardcore, industrial...the elements are all there, even if they're sometimes buried within the psychedelic chaos of some of the tracks. :D

And yeah, Renaldo and the Loaf are utter win. They need more attention here on rab!

Update to thread: Here's a killer live version of Level 42's Starchild that a friend directed me to!

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