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Catch Thirty Three


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Audio CD, May 30, 2005
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Editorial Reviews

Product Description

'One of the ten most important hard and heavy bands', that's how the prestigious Rolling Stone Magazine describes Swedish sonic extremists MESHUGGAH. It is impossible to talk about experimental or avant-garde metal without mentioning this truly groundbreaking act: MESHUGGAH mix ultra-complicated rhythmic patterns with massive riffs and aggressive growls, combining Death Metal, Grindcore, Mathcore, Thrash and Progressive Metal to create their unique style. Trying to categorize MESHUGGAH? Think again Manic low-tuned riffs repeated in seemingly endless loops, desperate and aggressive growls and screams, and drum fills and patterns from another dimension - these are some of the traits of character of Catch Thirty-Three, MESHUGGAH'S latest attack on the central nervous system. Avalon. 2005.

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On their thirteenth release, Meshuggah got a little experimental. Not that the band hasn't always pushed the boundaries of their metal (likely one of the reasons they were picked to open for Tool on tour), but this album is more than the usual departure. For this, they have come up with an extremely rewarding album. Unlike like the full-throttle assault of Lamb of God and Shadows Fall, and more in line with bands such as Isis and Mastodon, Catch Thirty-Three contains fewer rapid-fire time changes and lets tone take over. It is an experiment in sustained riffs, rhythms, and progressions, making the hypnotic feel come across as conceptual. Some tracks are crafted to blend seamlessly with one another and others are nothing more than a simple, repetitive chords. Make no mistake; this is still one of the more brutal albums you will hear all year--the vocals are death-defying and the onslaught is pummeling. Just that this album uses repetition and silence in a way previous albums haven't. This is extreme trance music and likely one of the best metal albums of 2005. --Robert Arambel

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Songs from this album are available to purchase as MP3s. Click on "Buy MP3" or view the MP3 Album.
                                                                                                                                                                                                                                                                                                                                         

Samples
Song Title Time Price
  1. Autonomy Lost 1:40$0.99  Buy MP3 
  2. Imprint Of The Un-Saved 1:36$0.99  Buy MP3 
  3. Disenchantment 1:44$0.99  Buy MP3 
  4. The Paradoxical Spiral 3:11$0.99  Buy MP3 
  5. Re-Inanimate 1:04$0.99  Buy MP3 
  6. Entrapment 2:28$0.99  Buy MP3 
  7. Mind's Mirrors 4:29$0.99  Buy MP3 
  8. In Death - Is Life 2:01$0.99  Buy MP3 
  9. In Death - Is Death13:22Album Only
10. Shed 3:34$0.99  Buy MP3 
11. Personae Non Gratae 1:47$0.99  Buy MP3 
12. Dehumanization 2:55$0.99  Buy MP3 
13. Sum 7:17$0.99  Buy MP3 

Product Details

  • Audio CD (May 30, 2005)
  • Number of Discs: 1
  • Label: Nuclear Blast Americ
  • ASIN: B0008GGOBA
  • Average Customer Review: 4.3 out of 5 stars  See all reviews (109 customer reviews)
  • Amazon Best Sellers Rank: #34,582 in Music (See Top 100 in Music)

Customer Reviews

4.3 out of 5 stars

Most Helpful Customer Reviews

69 of 74 people found the following review helpful By Wheelchair Assassin on June 3, 2005
Format: Audio CD
Since Meshuggah don't often release a new proper album (five in about a decade and a half of existence), the arrival of a new full-length tends to become something of an event, with the band's rabid fan base dissecting its sound like film geeks picking apart a new Tarantino movie. You can already see the instant analysis on this site, and judging by the early returns Catch Thirty-Three has done a mighty nice job of polarizing Meshuggah's listeners. Of course, given Meshuggah's penchant for ignoring convention and tossing constant curveballs at their audience, perhaps that's exactly what they wanted. Catch Thirty-Three has already drawn some criticism from fans concerned about its departures from Meshuggah's norm, but these people may be missing the point. For one thing, Meshuggah has always been about experimentation, making sure each release sounds different from the one before it, and that pattern continues here. More to the point, while this album is more repetitive than the others, and Fredrik Thordendal's hyper-technical solos have been all but expunged, this album is clearly *supposed* to be a repetitive and streamlined effort by Meshuggah standards. The repetition, the extended atmospheric breaks, and the (slight) reduction of showy technicality enable the band to put more emphasis on its unrelentingly bleak sound and vision, and I for one am all for it.

Of course, it's safe to say that I'm somewhat biased when reviewing a Meshuggah album, given the fact that I worship them with a fervor typically reserved for one's deity of choice, but even the band's more casual listeners should find something to like here.
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12 of 14 people found the following review helpful By D. Howard on November 29, 2005
Format: Audio CD
...but something just irks me about this album. I don't wanna hear that I'm not a "true fan" b/c I find myself yawning to this release. I fully acknowledge Mesh is one of the most aggressive, talented, innovative, and amazing bands out there, but not every band is going to strike gold with every consecutive release.

More power to those who can look at this work as a whole. I sure will never slight a band for trying new things. It keeps art fresh. But at the same time I'm sure there are fans that have a certain expectancy of Meshuggah to deliver something a little more in-your-face. One steady tempo gets really old and the ambient parts don't really live up to those delivered in "I" or older songs like "Sublevels" or "Future Breed Machine" (both have really amazing laid back guitar breaks). Doing one song for an entire album can work, but a single tempo repetition is just overkill...especially at 40 minutes long.

Also, being a drummer myself, I'm a little hurt Thomas Haake took the programming route rather than sitting behind the kit himself. The programming is solid and VERY convincing and sounds wonderful, but one can tel there's no real variation in the drumming. Haake is one of the most amazing metal drummers out there and this really is such a dissappointment to not hear his full potential. Overall it's the band's decision and I will totally respect them for it. As a fan who has supported the band, I feel a little let down. The effort is still good and delivers solid aggression that you gotta love them for.
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9 of 10 people found the following review helpful By Church of The Flaming Sword on May 31, 2005
Format: Audio CD
Meshuggah has never, and I mean NEVER, been a group to play by the rules. Especially within the "free-thinking" realm of heavy metal, which in many cases artists who decide to expand their parameters are labeled as "sellouts". Metal, which prides itself on values such as freedom and individuality, is full of reactionaries who claim to be non-conformist all the while attacking those that even slightly stray from their myopic worldview. What makes Meshuggah truly rebellious is not their image. They don't have a ridiculous Satanic or anti-establishment stance. They just avoid the cliches (blast beats, the clean vocal chorus, neoclassical soloing) that landed the genre into a quagmire while pushing it into an artistic plateau that few could possibly comprehend. Rebellion isn't challenging your enemies so much as it is challenging your peers when it is needed.

What can I say about _Catch 33_? For starters, it's going to be one of the most controversial metal releases of the year. Meshuggah has always been about reinventing themselves and _Catch 33_ is further validation of the fact. While earlier albums like _Destroy Erase Improve_ and _Chaosphere_ focused on adrenalized technicality, _Catch 33_ is about mood, repetition, and long simplistic near abscences throughout. There seems to be a lot an Isis/Godspeed You Black Emperor! influence here. It may come as a disappointment to some that the beats are programmed, but then again Tomas Haake's drumming always had a machine-like quality -not that that's a bad thing. There are two guitar solos on the whole album, and they are not of the shred variety. This is not, and I repeat NOT, an album for those with closed minds.

Of course, you're going to have the haters show out here.
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