Customer Reviews

Pyramids

5 star:		(0)
4 star:		(2)
3 star:		(3)
2 star:		(0)
1 star:		(0)

 

 

The best way to understand this music is to hear it. I describe it as having beautiful, ethereal vocals in the likes of Sigur Ros, Genghis Tron-inspired drum programming, and then top it off with some atmospheric and distorted noise. However interesting it sounds, the music doesnt really go anywhere. Also, every song basically sounds the same. If your looking for music that is REALLY out there, check it out. They are on Hydra Head Records, who generally sport a wide range of abstract bands.

applause for creativity and originality
favorite tracks: sleds, this house is like any other world

I feel safe calling this self-titled release from Texas's Pyramids hipster metal. To be honest, I would not refer to this bands sound as heavy metal at all. This sound could easily appeal to fans of indie/noise/pop groups such as Deerhunter and Animal Collective, and as such would be delegated as the metal among their easier listening collection.

If anything, Pyramids play a brand of psychedelic music with dark undertones,often harsh guitar, and aggressive drumming indicative of heavy metal. It is a sound as influenced by Brian Eno as it is Immortal. There is a darkness to this album that creeps into the psyche of the subdued listener.

Looking for stand-out tracks on this recording is foolish, as Pyramids create soundscapes rather than typical songs. No, you are not going to find yourself singing that catchy Pyramids song...as many times as I've listened to this album, I still don't know the names of any of the songs, nor do I really know when one ends and the next begins.

The sound of Pyramids is ethereal hell. Beneath lithe streams of whirling sound lurk the demonic echoes of something else. The percussion plays devil to the angelic ambience. It is as though consciousness tries desperately to cling to solace as the surrounding environment deteriorates into terrible uncertainty. Often the guitar/noise-work turn even more angular and dischordant, letting a more overtly metallic aggression take the fore. The drums, on first listen, sound as though they don't belong with the music, almost sounding like a bad aesthetic decision. Give it time, however, and the intelligent listener will find that the aggrivation and forcefulness of the percussion really emphasizes the point Pyramids attempt to make.

This is a very cerebral album, it works on the listener. Over time, one will find that this album draws you in, and even though it might seem as though there is nothing singular to pay attention to, you are completely drawn in. Like the character in a Lovecraft story who has obtained unearthly knowledge and wishes desperately to return to convention.

I cannot say this is a flawless album, and often it can be very boring. The remixes are hit and miss, but interesting regardless. The high point of this album, remixes or otherwise, is definitely the "Sleds" remix by France's Blut Aus Nord, who take the dishord of the sound to a new extreme.

One must ask themselves with a project like Pyramids, do they know something we don't? Have Pyramids obtained a musical knowledge beyond what the listener will be able to deduce? Or, are they just guys creating something that sounds different? Regardless, I find this album interesting and hope that Pyramids can produce something even better in the future.

The fourth star is to bring the average rating up, as they deserve it on effort alone.

Black metal unplugged? Shoegaze played by manic depressives? Whatever these guys aim to accomplish here is a personal mystery, but my cursory impression was that this music leaves me cold. Yes, cold. I imagine hermits decked in the hides of beasts trying to build fires outside their stalactite covered caves. Icicles forming outside the gates of abandoned buildings. Your average Pyramids composition begins with a heavily reverbed soundscape that tricks you into believing you're about to be treated to something relaxing before a barrage of fast tempo drums appear and confound your senses.

This is gentle chaos. Some of the most original music I've heard in years and the equivalent of aural vertigo. Still, it's a hard sell and I would only recommend to listeners seasoned to cross-genre experimentation.

The second disc takes the more accessible elements of Pyramids' music and brings them up front and center, revealing very melodic songs beneath the abrasion of their sound. The remixers (including personal favorites such as Jesu's Justin Broadrick) have done a fine job with the tools they've been handed.

As last year's "Sailors With Wax Wings" project showed, this band hosts atleast one stellar songwriter. It'll prove interesting to hear where they go with this unique, if not somewhat distressing sound.

I stumbled upon this while browsing the hydra head site and the cover art caught my eye. the artwork is not exactly transparent; you have no idea the kind of music that is supposed to go with it.

The first song reminded my of some of the vocal harmonies found on the last band of horses album. Nothing after that compares to any music found playing on best buy's radio. Pyramid's new release has elements of the kind of progressive industrial that Jesu makes, the evil weirdness of Today is the Day, and the daydream soundtrack of My Bloody Valentine.

One of Hydrahead's newest offerings, existing somewhere beyond Radiohead, Neurosis and Grizzly Bear, here is the self-titled debut from "The Pyramids."

While "Pyramids" is somewhat of an enjoyable album, dark and unique, it can also be a bit disappointing. It opens with shimmering, thick and highly reverberated melodies--like a synthy alternative band playing a concert while being sucked into a black hole--but pretty much peaks at the beginning. Aside from some thundering, distant-sounding double-bass drumming found at different intervals throughout, it remains a highly reverberated mess of guitars and unrecognizable, soft vocals; the basic feeling being, "if you've heard one song, you've heard them all." And maybe that was the point and I just don't get it. It is hard to say.

The album is worth a listen (as I have not heard much like it), and I will surely be looking into their next album to really find out what this band is all about. Hyrdahead Records do not lightly sign bands to their label. If you don't believe me, just check out Big Business, "Here Come the Waterworks." Check this one out as well, and be sure to offer an open ear to one of the most exciting indie labels on the planet.

P.S.

While I am at it, those at Hydrahead, how about dropping the 666 at the beginning of all of your catalog numbers? This is no longer a form of rebellion. Everybody does this! This makes you more a part of current trends and less innovative. I enjoy many of your bands, but this deters me from being as avid of an enthusiast of your label as I could be. It is a little trendy and immature, and I'm sure it offends a lot of people who would otherwise spend money on the music you produce. I'm sure you're thinking, "We'd like to see you develop a successful label," or "We don't need your advice," but seriously: Why limit the amount of potential buyers? Why not allow the ideals of your label to be as unique as the bands are? Thanks for the good music, though. Don't stop that!