Vektor – Terminal Redux

Believe the fucking hype. With Terminal Redux, Vektor didn’t just aim for the sky, they didn’t just aim for the moon, they aimed for fucking pluto and then zoomed past it into the next galaxy. The actual concept isn’t unheard of, plenty of bands have tried to make space adventure concept albums. However few if any have ever executed that concept as well as Vektor did here, especially in a genre so traditionally limiting like Thrash Metal. And in the process of succeeding where few have before, they created an all time classic that will be played, discussed, and thoroughly enjoyed for generations to come.

But you don’t get there by just doing what others have done previously, and in this case not even what Vektor themselves have done previously. This album is more entrenched in black metal than any of their other records before, the harsh vocals especially being almost purely black metal in style. Actually calling this black thrash wouldn’t be too much of a stretch on most tracks. However that’s not why this album is amazing. It is a reason I feel it differs itself from others, especially in that it combines such a sinister sub genre with an extremely technical and progressive leaning, but not why it’s the top of the ticket for this years list of AOTYs. What really sets this apart is in it’s comparison to other albums released as concept albums (or just albums in general really).

Concept albums tend to have the massive bother of being A. too long, and B. Not having enough content to be that long. If there’s anything any music listener knows, it’s that music artists tend to have a hard time making their music match their vision, especially with albums with large concepts, and ESPECIALLY in metal. Usually that’s a result of a lack of talent, but even talented artists fail at this simply because no matter how gifted you are, making 70+ minutes of music that’s not only consistent, and not only diverse, but ALSO centered entirely around a theme or story is just fucking hard. Many artists get some of those aspects right (and by some i mean almost always just one), but god damn is it almost impossible to get the triple play. And even albums that do get all three right typically suffer from being too tame, or playing it way too safe in a way that their album is a technical success, but feels underwhelming. It’s why I’m so quick to bash concept albums, it’s not that i hate them, it’s that executing them to the level of which I regard as acceptable is almost impossible. I feel like if you’re going to set the bar as high as possible, you have to reach that bar, fair or not.

Now it goes without saying that I feel like Vektor wins on all sides of the triangle of my arbitrary standards for concept albums. Sans some slight hiccups which I’ll get to a bit later, Terminal Redux is astoundingly consistent, with every track feeling unique and worth listening to. Even the one “filler” track on the album feels like it wasn’t wasted, as it leads perfectly into the track following. And not only is every track a hit, but every track sounds like it’s own being. I have to comment on how melodically diverse this album is, because that is a major rarity among metal albums, especially in fucking thrash metal of all things. I honestly believe every track but the 1 minute lead up track could be released as a single, which holds some truth, because 3 of them actually were. Normally something like that would be a sign of a band who has sold out, but not, 3 of the 10 tracks are singles because they’re all just so fucking good by themselves, let alone together. The best example of this I think are the final too tracks, Collapse and Recharging the Void. When I first heard Collapse, all I could think of is “wow, this would’ve made a fanatic closer”, and could taste that juicy 13:37, leet disappointment of a finale. I’m cynical as fuck, if I see a long track finale, and the shorter track before hand would make a great closer, even before I hear the final track I’m going to assume the band fucked up. But no, not only is Recharging the Void just as good as Collapse, it’s even BETTER as a closing statement. I would even go so far as to say it’s the perfect way for them to close this album, I really don’t think they could’ve pulled it of better. And that leads me into the most unique aspect of Terminal Redux, and what really separates this from the crowd.

The biggest problem with concept albums is that no matter how good the music is, if the lyrics can’t be heard, the concept is often lost upon people, because it’s really hard to tell a story via just music without either making it really obvious, or the listener knowing the story before hand from an external source. Vektor manages not just to masterfully tell a full story with music, but they make you feel the story as well. This albums feels like a blockbuster movie. A gripping, 73 minute, action packed, science fiction thriller that if made into moving pictures would probably be nominated for uh, idunno, probably a Golden Globe, the Oscars don’t really like nerd shit. Very few albums this long have the ability to make me just sit there listening to it without doing anything else, and being totally entertained at the same time. Charging the Void and Cygnus Terminal make me envision the hopeful start to a heroes journey throughout the cosmos. LCD to Pillars of Sand show me the action filled, perilous trials of the hero, enunciated on by the sinister and tense riffs. And finally we have Collapse and Recharging the Void, the triumphant victory of the heroes, shown by the proud and euphoric chords, and powerful noisy atmosphere. One small thing that I absolutely love is how Charging the Void and Recharging the void end with exactly the same riff, which implies to me that these heroes are not done, and that after a well earned victory, they continue to set sail for adventure. The album is at it’s best when it’s at it’s combining it’s harsh reality of peril and death with it’s ever ending optimism, when it combines both the positive and the negative, the major and the minor. It’s so refreshing to find a concept record that not only focuses on doom and peril, but the joy and idealism of an adventurous spirit. Plus it sounds pretty, what’s not to like about that?

Terminal Redux is one of those albums that we may not fully appreciate until 5-10 years down the road. We see it simply as one of the best metal albums this year, but further down the line, I can see this easily being not only a 2010s classic, but a thrash metal classic, period. Hell I wouldn’t be surprised to see this on some top 100 metal albums ever lists after the dust settles.

Are there flaws with this album, of course. I feel that tracks 6 and 7 feel just a tad bit too similar to each other, and one of them could’ve been taken off for the benefit of the album. Other than that, I can’t complain much. Could I spend an hour digging through the album to find flaws, you bet I could. I’m an asshole at heart, and if there’s anything more fun than praising an album, it’s taking a giant shit on it. But what the fuck would be the point? Nothing is perfect, and anyone who uses that as an excuse to not give something a perfect score is a massive memelord who should be ignored at all costs. Terminal Redux is not the greatest metal album of all time, nor is it perfect, nor is it worth the endless amounts of shitposting and memes it spawned. But if you even bother focusing on that fact, and not take time to just appreciate the album for what it is, you’re missing one hell of a ride.


Mestis – Polysemy ALBUM REVIEW

Remember Animals as Leaders? Remember how so many people complained that they relied on an excessive amount of notes, and were just a pure wank band? Well imagine all of that minimized, and played in an almost trip-hop format. What do I mean by that? I mean every song is structured literally like a trip-hop beat. You got a grief intro, then the introduction of an idea, repeat it a few times, expand on it, and then repeat back to the main theme. It doesn’t sound to different from a traditional song the way I’m explaining it, but trust me, listen to the album and it’ll make sense.

So how does this work? Like pure fucking magic. Mestis took everything good about Animals as Leaders and then corrected all of their flaws. Too many notes, it’s too technical! Bam, got down to the bare bones without taking off all the meat. It jumps around there’s too many ideas! Bam, simplified it to one main idea per song. Djent sucks, this isn’t trve Norwegian NS raw blackened death crust avant-doom slam-hop! Well fuck you, that black robe and skull cod piece is probably protecting your tiny wiener from shriveling in the sunlight. Point is, this took an already fantastic band, and made them better in every single way.

I initially thought of this as simply a great record, mostly as fun background music. I imagine listening to this while walking down a Florida beach at sunset, feeling the waves softly crash against my feet. However I couldn’t help but notice as I was listening to this that I was enjoying this record a lot more than what my original proposed score (around 8.75) would indicate. Like, REALLY enjoying this. I started to realize that I was grinning cheek to cheek from listening, and that all my anxieties and worries I had for today had simply vanished. I was transported to another world. A world of pure tranquility and joy. And I got that same feeling in me. That same feeling I get when I feel like a record is an AOTY candidate. A record that should go on my pantheon of great records. I spent a lot of timing thinking about these feelings, debating with myself whether an album with what I would consider relatively little depth (the record is below 40 minutes and every song is less than 5 minutes long) could reach this pinnacle. But I realized this doesn’t need depth. If this record were 55 minutes and had some 10 minute behemoths on it, it would lose so much of its appeal. It would lose impact, and it wouldn’t make me feel so god damn happy listening to this. I’ve determined this album is in fact my AOTY so far, due to one simple fact: I simply haven’t enjoyed listening to an album more than this in years. And what is music but a vehicle for enjoyment?


Screaming at the Sun – Screaming at the Sun ALBUM REVIEW

I have a bad habit not having a lot to say about the albums I enjoy the most. I guess Vaenir was an exception, but then I had something to compare it to (Electric Wizard) and I springboarded off of that. I had a background in that. I’ve never actually heard anything like this before. And honestly neither have you, whoever you are reading this. The genre tag “experimental doom” doesn’t really describe what this is. And really I can’t do that in words unless the person I’m talking to has heard this. It just won’t make any sense, there’s no context. So I’m going to actually link a download to this album, which is something I’ve never done before because typically if people want it they can find it easily. And even then, I’ve never really had a reason to, most people reading my reviews at least either know of the album or I can give them enough of a description to give them adequate information on if they should or not. But I can’t do that here, not unless i went through every single track and dissected it and what it means to me, which again means nothing if the other person hasn’t listened to it. Anyway, here it is
It’s a free download (which astonishes me) so you don’t have to worry about buying anything. Once people start listening to this album more I’ll probably give a more detailed review. But if there’s one way for me to describe it, just so you aren’t going in blind it’s this: this is the music that plays while the universe ends. This isn’t the ending of humanity, we’re long gone at that point. This is the end for existence. When we’re all sucked up in a black hole, never to be released. This is the soundtrack to God.