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14 of 14 people found the following review helpful:
5.0 out of 5 stars
Crikey, December 16, 2004
This may well be one of the most unpleasant albums I have ever heard. Not that the music is atrocious or the singing is annoying, rather that the records unfailingly bleak outlook on humanity and the inclusion of some truly disgusting samples and effects make this one of the ultimate uneasy listening experiences. Needless to say, I really like it.
SGM fall somewhere between the clinical, super heavy and rhythmically confrontational metal of Meshuggah, the eclecticism of Mr. Bungle, and the willfully complex and initially difficult to appreciate stylings of avant prog like Thinking Plague. Far from being a mixture of the above though, SGM moulds this (pretty diverse) set of influences into a mammoth display of instrumental prowess, schizophrenic sampling and claustrophobic production, obscure and baffling lyrics and even a little techno half song which degenerates into a Meshuggah style pounding guitar fest. I think the bands finest achievement then, flying in the face of such carefree experimentation (as an album, this is probably the epitome of anti commercialism) is that it does craft memorable songs, and even produces moments of, albeit chilly and never fully comfortable, beauty.
For instance, the first track, 'Hymn To The Morning Star', adapts the words from a TV theme, I believe, into a chilling ballad of sorts. The initial verses are delivered with a very Mike Patton esque croon, and when the chorus eventually kicks in, female vocals back up the male to very creepy effect. The song acts as an introduction to the second track, which sees the band let rip in full on metal mode. Convoluted rhythms and interlocking dynamics are the order of the day here, but it is particularly impressive to see the band incorporate winds, and an array of percussion instruments to lend the song an avant-ish edge as well. Brutal and constantly exciting, this is one of my favourite tracks. 'The Freedom' Club, the first lengthy piece, really sees SGM run the full gamut of its musical scope: a lilting, haunting initial section unfolds into a a driving rock oriented buildup, with some funny lyrics, before exploding into a full no thrash metal assault with Meshuggah dynamics and death-esque vocals. This track is exciting and inventive, but it probably plays second fiddle to the astonishing epic closer, 'Babydoctor' as the albums most ambitious track. Indeed, 'Babydoctor' might just be one of the most unsettling pieces of music yet, on an album littered with such triumphs. Strangely melodic and eerie, the song once again builds to a thrash conclusion but fleshes out the beginning stages with a far more atmospheric aesthetic and some accessible melodies. Its a fine note to draw the album to a close, the hilarious little sing along 'Cockroach' notwithstanding.
Such a marriage of metal and avant prog certainly wont appeal to everyone. I'd also warn this album is not for the squeamish, and requires repeat listens. Despite this, SGM are an extremely original and challenging band, the issues raised here are somewhat interesting and are pretty strange ground for a metal band to cover (they seem to be advocating a return to a kind of pre-industrial Edenic utopia, although the whole album is constructed in a decidedly tongue in cheek manner) and the playing and production are mind-blowing. Highly recommended to fans of this sort of thing, but bear in mind this is far out the mainstream it has grown legs and evolved into a quite different beast. Careful how you approach it.
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8 of 8 people found the following review helpful:
5.0 out of 5 stars
The Adversary, March 27, 2005
Does music get any better than this?
Of the many excellent avant rock groups making music in the Bay area, Sleepytime Gorilla Museum is the most excellent. Their first release, Grand Opening and Closing, was a virtually unknown masterpiece and, in my humble opinion, a milestone in the history of rock music. OF Natural History improves on their debut and earns SGM the exalted honor of My Favorite Band.
I am reluctant to make comparisons to describe this music. There are familiar aspects, but I can't help but feel that comparisons will only confuse. Deprived of reference, I am left with mere adjectives and we all know how inadequate these can be when trying to describe music.
I will say that this is serious music written and played by serious musicians. All aspects, harmony, rhythm, melody, and, most strikingly, timbre, are exciting and captivating. Absorbing the textures of SGM's aural palate is like tasting exotic cuisine after a lifetime of mush. I'm terrible at similes. The unconventional percussion, the vocal styling, the timbres of the guitars, along with Carla Kihlstedt's (Vocals, Violin) huge bag of virtuosic, ingenious tricks conspire to create music that is vibrant with aural color and makes me breathe faster and get goosebumps.
This is next level stuff.
The libretto is dark and cerebral. It centers around the idea of an inverse evolution that works alongside the "progressive" one. As humanity evolves, it also devolves by emulating the characteristics of lower and lower life forms until it finally comes to its present state of insect-like efficiency. Interesting stuff.
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5 of 5 people found the following review helpful:
5.0 out of 5 stars
Classical Music for a new Century, August 15, 2005
This CD (and all of the SGM work) is a great work of classical music or a rock classic -- only time will tell.
1. Story -- It has the great and complex depth of its story line of a Wagner, Mahler or Richard Strauss.
2. Dynamics -- The push and pull of the music and the story-teller can only be compared to the great Puccini.
3. Technical skill -- The virtuosity of the musicians can be compared to a great string quarter such as the Juilliard or Italian or to a witch docktor such as Paganini.
4. Philosophical -- Primitivism and futurism combined in one great elegant rant. Think Sex Pistols who were educated and were upset about the nature of reality -- not just the Queen of England and the class system.
5. Impact -- The impact of the music is liberating and requires clear and reflection to be even partially digested.
6. Sources -- They draw from heavy metal, Bartok, Berg, carnival music, Weil, etc. etc. etc.
You got it -- this is a powerhouse. I believe they are mostly classically trained. The violinist could be a reincarnation of Paganini himself.
I saw them live in Portland and they made a lasting impression of real high art -- intense beyond belief -- like watching Wagner's Ring sped up to a one hour sitting. If your mother and father like modern classical atonal music -- take them to a live show -- you will need a good set of earplugs, good scotch, and a shower after the show.
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