| Artist |
| Prometheus Burning |
| Title |
| Plague Called HuMANity |
| Format/Cat |
| CD CRUNCH062 |
| Label |
| Cruch Pod Media |
| Style |
| Industrial |
| Date of review |
| 26th April 2009 |
| Reviewer |
| Carl Jenkinson |
| Rating |
| 7/10 |
|
|
 |
|
The Crunch Pod label has, it seems, cornered the market in nearly-but-not-quite experimental releases that are accessable enough to have a (fairly) wide appeal & yet are always surprising & offbeat enough to keep you on your toes. This release, from the duo of Nikki Telladictorian & Greg VanEck, is probably the best example I've heard of how successful a refusal to play by the rules can be with a style that is by turns inventively rhythmic, abstract, darkly atmospheric & overtly melodic while Nikki's equally unique effected vocals add an almost punky edge. This is best borne out by 'Realm Of Thee Divine' where a number of disparate elements are combined, like an imperfect musical jigsaw, to make for a feel that is offbeat yet ultimately accessable enough for anyone who's not expecting anything too easy-on-the-ear. The preceeding title track offers another demonstration of how to sound innovative without any rampant experimentalism while 'Deluge', likewise, moves through a number of changes, from its abstract atmopsheric opening, through a cacophonous rhythmic barrage & on to an almost majestic latter half, although the continuing underlying rhythmic cascade provides a strong counterpoint as well as a continual impetus. In contrast, 'Genovese Syndrome' offers an altogether harsher aspect with some muscular rhythms providing a potent backbone for some scything lead sounds. Having said that, a bit of patience is in order as the opening dopuble header of 'The Box (Whispers From Within)' & 'Mother Of Abominations' come across as clever rather than enjoyable, not really setting the world alight & it's only with the mutated guitar riffs that form the basis of 'Blackmagick Tongue' that really engage the mind. This is probably the closest that the original tracks get to their stated Ministry influence, although there's also a cover of 'You Know What You Are' which is actually on track 69, at the end of the album (I'm guessing, or should that be hoping, there's some reason beyond the obvious for this!), offering a satisfying closer by combining an assertive bassline with steady, strong supporting rhythms in a manner that characterised a number of tracks, not least. But for all these accessable moments that innovative edge is still present to keep you from becoming too complacent with 'The Weeping And Gnashing Of Teeth' sounding like a mutated old-skool synthpop track put through the industrial grinder while the short piano-led interlude that is 'False Prophets' leads directly into 'Confronting Pandora' which seems to be the duo's one concession to dancefloor considerations, coming closest to the the popular electro sound with a typically dancey, synthetic feel but while it may get them widespread dancefloor appeal the album offers far more than that, striking the perfect blend between the innovative & the accessable.
|