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Koloss

4.7 out of 5 stars 88 customer reviews

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Audio CD, May 15, 2012
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Editorial Reviews

The 3-D artwork for MESHUGGAH s eighth studio album, KOLOSS, is named Gateman and was created by Luminokaya.com who spent nine months developing the piece.

The artwork, states MESHUGGAH drummer Tomas Haake, speaks for itself.
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Product Details

  • Audio CD (May 15, 2012)
  • Imported ed. edition
  • Original Release Date: May 15, 2012
  • Number of Discs: 1
  • Label: Nuclear Blast America
  • ASIN: B0041B785Y
  • Average Customer Review: 4.7 out of 5 stars  See all reviews (88 customer reviews)
  • Amazon Best Sellers Rank: #27,060 in Music (See Top 100 in Music)

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Customer Reviews

Top Customer Reviews

By J. Hill TOP 500 REVIEWER on March 27, 2012
Format: Audio CD
Meshuggah's new album, Koloss, stands up to any of their other work. It should assure their fans that the band has no lack of creativity within the genre they've created, showing that a group can progress within their own sound without necessarily breaking new ground. Bottom line is, if you've liked the last few Meshuggah albums, you'll have no trouble getting into this one. Here's how each track breaks down.

I Am Colossus begins like ObZen continued, sounding slow, stark, and brooding. A couple minutes in, you can hear why drummer Tomas Haake has said they wanted a more organic sound, because it starts to sound like they're all playing together. The drums sound live and the guitars warmer than on ObZen.

The Demon's Name is Surveillance continues the more organic vibe, sounding almost like Contradictions Collapse, not in style, but in the recording itself; it's less refined, more raw. The style is more like Chaosphere, with a heavy, heavy groove and old-school tech solos.

Do Not Look Down--Like the Nothing album, it has a bouncy groove. Jens Kidman is not screaming as much as on ObZen; you can hear more voice in the vocals. This one has a nice solo that sounds a bit like something from Destroy Erase Improve.

Behind the Sun offers more of that slow, menacing crawl of some ObZen tracks, monstrous drumming, and gradually moves into some absolutely massive grooves.

The Hurt That Finds You First is fast, almost thrashy, but more like the fast parts of the "I" EP than their first couple albums (but with maybe a trace of Contradictions Collapse in the guitars); it's definitely different from anything on ObZen, Catch Thirtythree, or Nothing, ending with some clean guitar that reminds me of Destroy Erase Improve again.
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Without speaking in the typical metal hyperbole that saturates many reviews all I can say is that Meshuggah bridged that gap for me that laid between Chaosphere and the NOTHING albums. The band combines all the things they do well from previous recordings and produced an album that is awesome from beginning to end. The speed and polyrythms that have become their trademark are melded so well with the churning and bobbing chug that they pummled listeners with on Nothing. Meshuggah is still better than all the rest, they have no peers in my opinion. Fantastic album.
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There's a reason why Meshuggah is part of the curriculum at Berklee College of Music. There's a reason why they're the topic of published articles in music theory journals. And there's a reason why their influence has permeated through hundreds of bands who continually try to emulate their style. Meshuggah aren't just a fantastic band, they're a band that has simultaneously pioneered and mastered an entirely unique approach to rhythm and heavy music. They've been releasing consistently excellent and innovative material since 1995, and Koloss is yet another superb addition to their truly impressive discography.

This is definitely a comfortable and confident release from the band. At this point, they are well aware of the impact they have made on the metal community and rather than push their sound in any new direction, they have elected to deliver an album which essentially celebrates the sound that they invented. All of the beloved qualities of the band are here in full force - the thunderous, shuddering 8-string guitar tones, the dizzyingly complex and mechanical drums, the oddly-cycling riffs that seem to lack beginnings or ends, and of course the supremely nuanced and unbelievably groovy rhythms. Koloss is definitely an ode to the trademark Meshuggah groove and is yet another convincing argument for their rhythmic prowess and virtuosity. But what's always been most impressive to me about the band isn't their virtuosity. Their music definitely does succeed on an intellectual level with the all of the polyrhythms and odd, off-time riff cycling. The true success of the band though is their ability to turn all of that complexity into something visceral that can be enjoyed regardless of your understanding of what's going on under the hood.
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Format: Audio CD
I have always had a love/hate relationship when it comes to Meshuggah. Some of the albums/songs I love and others, well, I hate. For example, I love Obzen, could listen to it daily, but I can't stand Catch Thirty Three...you catch my drift. That being said, I LOVE KOLOSS. In fact, I love each and every track on Koloss. From the very beginning 'I am colossus' slaps you in the face with the low, groovy, bone-crushing riffage that Meshuggah are known for. To date, this is my favorite Meshuggah album and Koloss is quickly becoming one of my favorite metal albums of all time. If you are a fan of Meshuggah, or if you have liked a few tunes here and there, give this album a spin, it will rip your face off.
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I enjoy this album. However, after being listening to early albums its hard to rate this one. Tracks that stand out are Behind the Sun, and Break those bones. I can not quite make it through the album without skipping a few tracks. So while being good it is not great. I favor ObZen over this one. ObZen in my mind, is a hard album to follow.
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