- Audio CD (May 15, 2012)
- Original Release Date: May 15, 2012
- Number of Discs: 1
- Format: Original recording remastered
- Label: Nuclear Blast America
- ASIN: B001DXBVKG
- Average Customer Review: 4 customer reviews
- Amazon Best Sellers Rank: #137,622 in CDs & Vinyl (See Top 100 in CDs & Vinyl)
Contradictions Collapse RELOADED
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1991 album from the Extreme Metal band from Ume, Sweden, The album leans more towards a thrash metal sound than the band's later works though it does have many of the band's characteristic elements such as the jazz fusion sounding guitar solos and complex precision.
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'Contradictions Collapse' is Metallica on steroids. The sound of the album reminds me of 'and justice for all' but without sacrificing the bass of course. The songs are more straight forward than anything that the band has done till now but they are really complex and progressive. Haake is a monster here and the whole band already shows signs of better things to come.
A hidden gem of an album that can appeal to even non meshuggah. Progressive thrash at best!
then didnt really get into the band until 2003, when i got "nothing"-
theres something about the ugliness of the tunings on nothing (on the original release, not the re-dux
on which the band uses neater, less dirty sounding 8 string guitars instead of downtuned 7 strings)
that makes me feel happy, being someone who enjoys alot of other weird genres, like
noise rock, lo-fi, and some of the weirder aspects of 60's psychedelic rock
and even the better prog acts like gentle giant/ newer great prog metal acts like voivod and martyr (dan mongrain's martyr, not to be confused with another entirely different metal band of the same name).
...the guitars on nothing feel like they are strung with giant rubber bands
or maybe elastic bands made of some kind of magnetic metal (if that were possible)
if it is or not, i imagine it when i hear those songs...nothing turned me from a casual passer-by into a downright fan.
it is just so mean and nasty and if you have the restraint to listen to it
with the volume down on headphones you can hear alot of subtlety..
but mainly its about the rhythms. that was one of the first albums i would actually take a long time
to "get", and even though i eventually did, the thrill hasnt worn off yet and its now more than ten years later.
since then ive bought every other M album including koloss.....except (for some reason) for contradictions collapse.
SO, being this isnt a review of nothing, lets talk about C.C.
(thanks for bearing with the little intro to the history of my meshuggah experience ;)
bought C.C. about 2 weeks ago, have been playing it on the big car system alot while driving.
c.c. (1991) to me is the replacement for metallica's "and justice for all" (1988) now that AJFA as an album has been beaten to death from so many years
c.c. is way more interesting than AJFA. (opinion ;)
it has alot more time signature shifting, alot of really cool clean guitar and cool acoustics playing chords that are much more imaginative,
and the songs musically are just more interesting,
to me this and destroy erase improve have the most variety of their albums as far as sounds,
dynamics, musical expressiveness and combinations of ideas.
very unusual for a thrash band in 1991 to do the things meshuggah does on this album,
even unusual for a band these days to do them- this band has always been very ambitious
and has always had alot of talent!
plus on AJFA you cant hear any bass (although ive always found that kind of cool in a way)
and on c.c. although it isnt mixed very bass-y you can hear the bass playing pretty much the entire time..
actually, i think this record has the most prominent bass guitar sound of all the records.
koloss has a couple of moments where dick lovgren is "uncovered" when the band quiets down,
come to think of it, i think theres at least one or two "bass peeks thru"
moments on each album, no matter who was playing it.
its arguable to some that jason newstead was even playing on AJFA. (he was tho)
i feel like if you listen closely enough you can hear him, although ive felt
at times that it was just wishful thinking. ive always liked newstead,
especially when he joined the mighty voivod (rip pioneer/genius denis "piggy" d'amour, excited about the new album with martyr's daniel "chewy" mongrain!!)
ironically now that i mention it c.c. has a little of that jazzy voivod-ness to the guitar chords at times
which might be one of the reasons i like it so much..
JENS' vocals here are tons more melodic than on pretty much every other full-length meshuggah album.
way less scream-y, much more tone, variety, dynamics.
this might be a turn off to some fans but i quite like both the new jens and the old one.
this jens vocally is the pretty much the same one from the old demos and performances when he also played guitar.
seems he got louder and more aggressive when marten hagstrom joined and took over on rhythm.
interesting also to see the growth of jens from this record to d.e.i., chaosphere etc..
the most change from one album to the next vocal-wise comes between c.c. and destroy erase improve.
also, comparing the lead guitar on metallica's post 80's "statue of liberty album" to the lead on meshuggah's:
metallica's leads are usually lazy, sloppy and blues based for the most part (although AJFA's leads are some of metallica's best)
fredrik thordendal's leads have always been musically more advanced theory wise, smarter
and more dynamic, with different feels and cool changes being abundant..
kirk hammett should listen to these leads and learn a little?
he gets paid way more (as of now anyway) and maybe should try a little harder? im just sayin' ;)
(plus kirk hammett has alot less to do with the songwriting aspect of metallica than fredrik thordendal does with meshuggah's)
HAAKE is HAAKE. :)
but alot of this album yes is very THRASH.
i hear anthrax, some slayer, probably a little more sepultura than the first two.
it was 1991 so they were competing with that stuff, but in meshuggah's case
it feels more like they were trying to USURP more than compete with.
to me, now id much rather listen to c.c. than the big four on most days,
but it could be a little bit because c.c. is newer to me too..
also, i dont believe there are any guitars used on this record
which have been tuned below standard E, whereas D.E.I. and Chaosphere are tuned to low B
and everything from nothing on uses the 8-string tunings (even tho nothing is 7strings tuned down)
the E tuning of contradictions might be a strong reason why this record sounds
so thrash-y along with jens "yelling in key" james hetfield-isms..
on a weird note,
contradictions collapse's cover ('91) has the statue of liberty
(just like and justice for all '88)
and the album's songs have themes of greed and the death of the american dream,
although meshuggah's dream at the time may have been
american only in imagery..so this feels to me like meshuggah's (direct or indirect) response to that album.
as far as the NONE ep goes, its already considerably different than C.C.
its downtuned a bit more than e13, a little less scattershot with crazy tempo changes
(as it hints at the evolution of the band toward
a more groove based approach, with the riffs
of different times placed over 4/4 more often instead of just changing abruptly)
i like it alot too, its got more of the hard core influence theyd show later,
a little less "mainstream thrash trying to stand out and be more special"
it has more guts, more confidence. good idea to put these 4 songs after the c.c. album,
it makes one realize more readily how fast the band was growing and changing at the time.
on c.c. the songs are cool, they change alot,
maybe exaggeratedly, but theyre interesting.
a great record to blast on a bassy stereo system.
also, great record in general if youve always loved the big four
and have been looking for something that sounds like those bands
but is done in a different way.
its not really the meshuggah we know and love of more recent times.
but you can hear the beginnings of that here, and its just really fun early progressive thrash with great musicianship.