'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.
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
, 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