Tag: 5 to 5.75

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VNV Nation – Praise the Fallen (1998 album)

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Youtube: https://www.youtube.com/playlist?list=OLAK5uy_lt_-_CtYzU6b87lOpOK-PZH5aujkgt4jo

 

 

 

Introduction: VNV Nation. This is going to be an odd review for me. I’ve been exploring my favorite artists’ discographies in chronological order (technically this isn’t the debut album as the first album was re-released with some bonus tracks, so I’ll take care of the true debut later), but the issue with VNV Nation is that Ronan’s first couple albums are drastically different in style over the first few years. It doesn’t even sound like the same artist at many points. So, while I actually prefer VNV Nation over some of the other artists I’ve looked at (Andy Hunter and Ashbury Heights), this debut album will be far worse than Exodus and comparable in quality to the all too edgy Three Cheers for the Newlydeads.

 

Usually the VNV in VNV Nation stands for “Victory, not Vengeance.” Today, I’m not so certain.

 

VNV Nation – Chosen (6): VNV Nation begins this album with an ambient story. Almost makes it seem like this artist is going to be another narrative discography like Mind.in.a.box, but that’s not the case this time around. This is just one song that tells one story. A story about war.

 

In no way, does VNV Nation romanticize war in this song. It is displayed as a disgustingly horrifying aspect of humanity (or lack thereof). Chosen specifically tells the story of a city that has been conquered by the enemy. All its citizens live in constant fear of the brutal army that has overpowered them. Fear for their life, and fear for whether any semblance of justice and reasons exists. Comparisons are made to the most devastating natural disasters, and yet, it’s clear to see that Ronan views the nature of war to be on another level of horror. There doesn’t seem to be any victory in this story. Only defeat. It’s kind of on the lesser end of VNV Nation songs lyrically, but for this album it’s par for the course

 

The music however, is quite good. It definitely stands out as one of the relaxing bookends of this album (most songs have the same driving drumbeat that’s absent here). There’s a good combination of ominous bass and eerie melodies throughout much of the song. And he strings in the background give a sense of beauty to the track despite the fact that the lyrics demonstrate the clear opposite of beauty. They get their own highlight for the second half of the song once the story has concluded. And as the track dies down it concludes with a piano

 

VNV Nation – Joy (3.25): Joy is a lot harsher than Chosen. Much of the album has this edgy monotonous drumbeat, making the entire album seem a bit angry actually. So much for “Victory not Vengeance.” There is little variety in this song to get into. The beat begins to drone on between the same kick and snare (with the only occasional variation (like the rapidfire build-up near the beginning of the song but that was kind of annoying anyways, so it barely counts). Other than that, there’s a few basslines, but none of them really strike me as anything worthwhile. There’s a melody in there every once and a while but it only gets to exist for a couple of seconds at a time. Really the strings are the only saving grace in this song. They come in every once and a while to provide a little bit of beauty and they’re greatly appreciated. However, that only undoes some of the edginess that permeates through this song

 

That edginess comes from the depressing lyrics. Honestly, the only joy I can hear in this song is that I’m pretty sure that the choir is singing the word “Joy” at the beginning. Everything else is extremely edgy. It’s not Ashbury Heights levels of glorifying of depression, but the nihilism is definitely present. Countless times in the song, Ronan questions whether any positivity in love is still worth it when there’s so much pain in the world. He describes a situation in which he finds no meaning in life. He compares it to a never-ending war, in which he is losing.

 

And honestly that goes against everything VNV Nation would come to stand for.

 

There is no victory.

 

Just vengeance.

 

VNV Nation – Procession (6.25): Procession starts out well enough with a lot of focus on melody. This melody comes from a soothing collection of the strings that have so far been the highlight of this album. And yet, they don’t sound quite like strings either at points. It’s still the most beautiful part of the song (though that’s not saying much. And that’s even with the odd siren tone pulsing in the background. I feel like I should have a problem with that, but I really don’t mind at all. Overall, this is a nice break from the pulsing uninteresting drumbeat that plagues this album.

 

A nice one-minute break…

 

Fine. I guess I’m being a bit harsh. This song actually does have a fair amount of variation to it. The drumbeat is still overbearing but all the other instruments have a nice enough variety to them that I can accept that. There’s a second melodic instrument that closes off that first minute that I rather enjoy. It especially does a good job of closing out the song (Yes, my favorite part of the song is when it’s over. That sounds more negative than it is). I also rather enjoy the horn that appears in the chorus.

 

As for the lyrics, I think we have a continuing unbalance with the vengeance threatening to take over this album. Well, there’s a bit of victory sprinkled in here too. The lines are somewhat blurred and this seems to be one of their more cryptic songs so it’s hard to tell exactly what the message is. I’m definitely going to try and parse through some moments here and there though. The victory in this song seems to focus on trying to remember the heroes who’ve been forgotten. The people that pave a way for new generations to live happily. But such people while perhaps being respected briefly are just as quickly forgotten. It’s hard to tell, but this song comes really close to almost glorifying war which I found to be slightly unnerving at first, but upon second glance, it seems to be more about respecting those who were in war. You know. A Memorial Day thing. There really is less violence and vengence here than I expected.

 

Except for when we break some worthless necks. Where did that come from?

 

VNV Nation – Voice (6.5): I really don’t have much specific to say about Voice, which is strange because it is one of the better tracks on the album. Parts of this song, specifically the arp, wouldn’t feel all that out of place in a Mind.in.a.box song (my current favorite artist as you may have noted me mentioning in previous reviews). There are also a few variations on the arp and a nice driving melody that accompanies the vocals. Unfortunately, the song does get a little repetitive. Could be a bit shorter.

 

You know what else is repetitive? The lyrics. I’m not going to complain too much as I don’t feel like the repetition of the lyrics bothers me as much as the repetition of the music (though it is further proof that the song would be better if it was shorter). The lyrics in this one are much simpler than the last few songs which is a welcome break. The lyrics are pretty self-explanatory. We are not the same and our voices must be heard. No particular voice rules over the others. We just differ. At least that’s how I’m interpreting it. And I like my interpretation so I’m sticking with it.

 

VNV Nation – Forsaken (8): Forsaken is one of the two songs on this album to be later featured on The Solitary EP. Because of this, when I started listening to this song, I thought to myself “Oh I know this one.” But I didn’t. The version I knew had much more to it as far as lyrical content goes. This has three spoken lines and that’s it. Not bad though. The most important though provoking part of the song is still maintained so that’s neat.

 

Music first. I like to leave provoking thoughts until the end. Forsaken is thankfully one of the calmer songs on this album, meaning this break from the drumbeat, unlike the one in Procession, takes up the entire 4 minutes of the song. And it is simultaneously unsettling and beautiful. The unsettling factors in quite immediately as all the song begins with is the main melody of the song accompanied by an unfortunate heart monitor. This main melody is a slight bit irregular and at first, with the ambience surrounding it, it plays well into the ominousness. But not a minute later, combined with the strings and the arp, there’s a peaceful beauty to the whole song. It’s still the same melody but the entire tone has been transformed due to its context and I find that to be quite amazing almost serves as a parallel to the ending of the song and its entire meaning.

 

Forsaken is about death. This is immediately apparent when the song starts out with a flatlining heart monitor, and it’s explicitly stated in the last moments of the song, which I remember the most. There’s a few lyrics on the way to that journey, one of which I found a bit too cryptic to figure out how it fits (For thirty years, I have plotted to bring down the party. I am sick in mind and body) and the other being so vague there’s nothing much to say about it (Help me).

 

That final quote at the end (from Jacob’s Ladder) though really does paint a good picture of the unsettling peaceful dichotomy that is death. You can either live your life constantly fearing death, running from it despite the fact that you can’t truly escape, or you can commit your limited time in existence to a goal or meaning. Through that, you can find peace from the chaos of this world and when you reach life’s end, death is easier to accept.

 

Yeah, this song’s a bit morbid, but it isn’t disgustingly so. I greatly appreciate it as an artful song that sticks out like a strengthened thumb of off the withering hands of this album.

 

VNV Nation – Ascension (4.75): Seeing as there are no lyrics in Ascension, I’m going to have to look at this song from a musical standpoint alone. I’m not going to have much to say…

 

The problem is that this song is 8 minutes long. That’s a long time to commit to listening to one song, and the experience I get from this one doesn’t really make it worthwhile. There just isn’t enough distinctive variety in here to justify such a length. It has a bit of interesting progression for a bit as it introduces the various instruments, but that only lasts a couple of minutes. After a certain point the song just plateaus, and it gets harder and harder to maintain interest. I did enjoy some of the bits with the bassline and the strings working together at some points, but over time, the monotony took over. I feel like if the song had more direction, I’d be able to enjoy it more, but otherwise, I can’t bring myself to care.

 

VNV Nation – Honour (7.75): The word “Honour” looks wrong to me, but that’s my own personal problem as an American speller (though this is the odd case, as I actually prefer colour and theatre sometimes). Ah well, it’s an irrelevant little thought that filled my head for a brief moment.

 

The music in this one is definitely on the better side of this album. The way the song begins with each of the strings, bassline and drums creeping up behind the main melody does serve as a nice introduction to everything you’re getting into with this song. And that bassline could do a very good job at keeping a good drive to the song, though the drum is so overbearing, it doesn’t really need much help (you could turn that down a little… I know you’ll balance things out in the future… but I’d enjoy this more now if you’d turn it down… he can’t hear me… I’m two decades too late). Ah well, at least it compliments the melody and strings nicely. There’s a recording or two in there related to war as well (those ground troops have got to be well notified by now), but they’re fairly inconsequential to the song’s music or message.

 

Speaking of the message, Honour is actually the song that I feel most closely follows the “Victory not Vengeance” message that VNV stands for, making it one of the better songs on the album. It still hides behind a wall of war metaphors though, which makes it a bit harder to decipher the message. In fact, the first half of the verse is entirely there to describe the image of the battle that will serve as the backdrop for this song (which takes place in 2012 despite this album coming out in 1998).

 

The second half of this verse and the chorus are a bit more meaningful, though they do have a slightly inconsistent tone to them. There’s a wavering confidence in these lyrics. At first, the singer voices his concerns of what had happened to justice and reason as the chaos of war had arisen (I still find this particular sentiment to be a bit too relevant today). He then calls on either God or the spirits of those who fell before him (or both maybe) to receive guidance on the attempt to rebuild a world broken by war. As we reach the chorus, the singer is temporarily filled with confidence, letting out a war cry to defend the values he holds dear and yet still in the back of his head there’s some doubt over whether those values are still intact. The whole thing provides for a slightly messy arc though I do think I have a slight hold on the message.

 

These doubts that plague his mind (as well as my own, this is a bit personal) have not left him even after he’d sought out the path to victory. However, he also continues to stand his ground and keep on fighting for that victory even when those doubts in his head threaten to overtake him. Maybe I’m self-projecting my own struggles in here but the song works regardless.

 

VNV Nation – Burnout (1): Oh no.

 

This is very bad.

 

Perhaps this just isn’t my genre, but this is the worst sounding song I’ve reviewed so far maybe excluding Swansong (even my low rating of Swansong was perhaps generous). But at least Swansong almost lured me in by sounding good on the surface. This on the other hand. I can’t get into this one at all. I already was uncertain of it at the beginning, but then this song did the magical thing of getting worse and worse every second. The drums caught me off guard at the beginning. A bit more violent than I’d normally prefer, but with the right context they could work. This isn’t the right context. This context is filled with loads of instruments that simply don’t work well together. Any ambiance is screechy at best. Any bassline is a bit too gritty and there’s often three of them layered on top of each other in an unfitting manner. And any semblance melody is missing (unless you count that high-pitched swinging ear irritater, which I don’t).

 

There’s some kind of interrogation going on at the beginning harking from an old classic movie harking back from 1936: Things to Come. I hasn’t seen the film and it was only through happenstance wild goose chase that I was able track down and confirm the source, but I must say that through my research I am quite interested in checking it out so at least some good came of this song. That’s not going to improve this abysmal rating though.

 

VNV Nation – Solitary (7): You would’ve never guessed this, but Solitary is one of the other two songs on the Solitary EP that I’d heard previously. A song called Solitary on the Solitary EP? Mind-blowing, right? There’s even a version of Solitary on the Solitary EP called Solitude but it’s still Solitary under a different name. I’m not going to go too much over which versions of Solitary I prefer more seeing as there’s four versions of it, but I’ll tell you that this one’s in the middlish as far as I’d rate it. I’ll do more comparisons whenever I decide to get around to that EP (really low priority unless someone requests it via Patreon).

 

Solitary’s musical structure is rather similar to a lot of the songs on this album. It has a pounding drumbeat made almost completely of kicks. It has some strings that fall and rise at certain points in the song. It has a simple melody that’s played on loop at several points in the song (this one is only three notes though). Add in a bassline and maybe another synth (both of which this song has) and you have your typical Praise the Fallen song. It doesn’t really stand out in any way other than familiarity due to its titular EP. Thankfully, unlike the all too long monotonous Ascension, there’s at least some lyrics to go over this time.

 

This song is all about change, and if you’ve been reading my Mind.in.a.box reviews, you’ll know I love that topic. In fact, this song shares a lot of similarities with the main themes off of Crossroads, seeing as it’s a song about leaving the guilty past behind and reaching out into the future. Nearly every song on that album was about that subject. Well let’s add another one to the list! Except this one is on a completely different album by a completely different artist and contributes nothing to the narrative whatsoever

 

My same feelings apply though. I am a strong believer in striving to take control of one’s life and changing it for the better, leaving the past in the dust if you must. The past doesn’t have to define who we are but we, at any point, have the power to define our future.

 

Overall, I’d say this song is the closest to resembling the modern VNV Nation I’m more accustomed to. It has its flaws but it’s a step towards the modern standard.

 

VNV Nation – PTF2012 (6): As we head nearer to the close of the album, we only have two calm instrumental songs to review. They’re simple beauties so I’ll be brief. I do want to note one odd thing about this title though. This technically is the titular track of the album. It doesn’t look like it, but there is an alternate title seen in the bottom corner of the album art that matches this song name. PTF is an abbreviation for Praise the Fallen. 2012 is simply a random year that Ronan Harris chose for a once futuristic date to set this album (see Honour).

 

I don’t want to say this track is just strings even though that technically is true. There are no non-stringed instruments present (actually after listening a couple more times, there might be a horn but I’m not absolutely certain). However, I feel like calling it “just strings” has a somewhat bad connotation to it. The song is beautiful, and it does have a rising feel to it from beginning to end, making it a much better progression than the twice as long “Asscension” from earlier. However, it isn’t especially memorable as nothing particularly sticks out to me. It’s just a decent stringed track cooling us down after all the heavy drumbeats we’ve had.

 

VNV Nation – Schweigeminute (n/a): I have seen evidence, that this song exists, but I am unable to find it anywhere on the internet. I’d probably have to find a physically copy of the album to hear it. That’s okay though, because it’s apparently just a minute of silence and should hold no weight on my final review score.

 

VNV Nation – Untitled (6): Wow, what a fantastically interesting title. Really tells you everything you need to know about the song. This is a rather bland conclusion to the album, so I’ll be brief once again. This song suffers a bit from repetition as it perpetually plays the same melody on loop for a good 90% of the song. It has a little bit of musical variety as there’s a second synth that fades in and out like a tide. Because of this, the song almost becomes a soothing relaxing conclusion to the album, but the melody doesn’t quite reach up to its soothing potential. Ah well, still a decent experience overall.

 

Conclusion: Really a poor start to one of my favorite artists. This is a far cry from what he makes nowadays. I’m all about a bit of edge here and there, but early VNV Nation isn’t quite the edge I’d like from them. VNV Nation usually admits that there’s negative vengeful aspects to life while simultaneously shining light on a path through the pain towards victory and peace. That path is absent from this album. It’s almost entirely focused on the darkness and it simply doesn’t work quite as well as I’d like (though I guess the edge here isn’t as bad as it was in Ashbury Heights’ Three Cheers for the Newlydeads).

 

The biggest problem with this album is the overbearing drumbeat. I like a good solid drumbeat but this one was too much, and it upset the entire balance of the song, nearly drowning out all of the other melodies, basslines and vocals. The lack of a drumbeat is actually a big part of why Forsaken (the only song on the album to get a rating higher than an 8) stands out.

 

I would highly recommend some of VNV Nation’s newer albums that have been released in the past decade (Transnational is my favorite). You’d be better off skipping some of the older stuff. I, on the other hand, have an obsession with order, so I shall be trudging through these edgier albums first. Ah well. Next week I plan on a larger scale review of a much better album.

 

Final Score: (5.75/10)

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Ashbury Heights – Three Cheers for the Newlydeads (2007 album)

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Youtube: https://www.youtube.com/playlist?list=OLAK5uy_lCW9gFlwKUIpX6qtgTJegXASSuBVcLcuM

 

Introduction: Does this look edgy enough for you? A young couple with heavy eyeliner and a monochrome? How about the fact that this young lady (Yasmine Uhlin) looks like she’s about to strangle the dude (Anders Hagström) with his own tie? The dark greenish tint to the whole decaying cover? The fact that the album title seems to imply that we’re celebrating recently deceased people? Well if you’d like to avoid the edge, I’m sorry but that’s what we’re doing this week.

 

Ashbury Heights is certainly the edgiest group in my top ten artist of all time. In fact, they have grown to be perhaps the best group for maximum edginess without going overboard. Now, some might find this a bad thing. When many people think of the word “edgy” they think of people and songs that are overwhelmingly angsty and depressing. Well, those people are absolutely right. And I love it. I’ve honestly been on the edge of edgy since I was a young lad (so about five years ago as I’m still a pretty young lad). It takes a lot to find the edge to be fully overwhelming and as long as the lyrics are down to earth enough and the vocals don’t get too gritty (See Project Pitchfork, Asethetic Perfection and especially Combichrist).

 

Of course, I did say that they reached that maximum nonoverboard edginess over time. This is the first album in their discography and it does delve quite deep into some dark themes that may make some uncomfortable, so I guess this is my warning to you.

 

Actually, you know what? That vague warning isn’t good enough. I was going to save the “revelation” for later in the review, particular discussing it at the end, but I do not want to allow you to dive into this blindly, considering its content. This album is unusually dark, even for Ashbury Heights. If I didn’t have a completionist obsession with doing each artists’ discography in chronological order, I would just skip this album entirely, not only because of some of the themes it handles (suicide in particular), but because these themes are handled very badly, so if you’d rather not read that sort of thing I’d advise you to hang tight until next week. This review could get ugly.

 

Ashbury Heights – Bare Your Teeth (6.25): Bare Your Teeth is a rather simple introduction to the album. Ignoring the lyrics (which shall be the usual focus of Ashbury Heights), the music is rather run of the mill. I’m not saying it’s mediocre or anything, but it doesn’t really do anything to exert itself. Yeah, it’s got a decent drive and some alright melodies, but I could say that about nearly any song. That doesn’t make it good. None of it stands out enough to speak of, so I’ll just move on to the meaty lyrics

 

Or they would be meaty if it weren’t hard to see where early Ashbury Heights is going sometimes, so please bear (your teeth) with me as I try and parse exactly what’s going on here and try to determine if there’s a hidden meaning to speak of. I feel that the crux of this song must surely be the line “We’re all Mad Underneath.” Maybe it’s just because that feels like one of the more existential lyrics in the song, but I feel it does fit the general theme of Ashbury Heights. When you dig deep enough into the essence of any human being, you will find flaws within. Whether you recoil in horror in the absence of perfection or find comfort in the company of the imperfect is up to you.

 

Ashbury Heights – Waste of Love (7.5): The verses on this one are definitely reaching for that edge of despair, but before we get into that, I need to talk of the music very briefly before I get distracted by the existentialism.

 

The melodies in this song are miles above Bare Your Teeth. Where Bare Your Teeth singular bouncy melody that just doesn’t quite mesh with the song in the chorus, Waste of Love has a more slowly paced melody that can be played along with Yasmine’s vocals seamlessly. Where Bare Your Teeth had a monotonic synth playing every eight beats in the verses, Waste of Love has a less energetic melody that fits in a little better with the desperate vibe this song has. It’s just an all-around better song in every aspect.

 

Speaking of desperation, Waste of Love’s verses are incredibly desperate and depressing. The angst and depression in this song is quite apparent and the whole message of the song seems to promote a bleak sense of nihilism, which is not the most uplifting message. However, the chorus does change this sentiment a bit. It’s not overt, and for all I know it wasn’t the intention, but there’s something slightly inspiring about the second half of this message. Move on from the sorrow and ride forward in life. Keep your expectations realistic. Know that you won’t always be able to keep your spirit up. But whatever you do, don’t give up. Keep striving for greatness. And offset from the grief in the verses, I can’t help but find this to be quite powerful.

 

Ashbury Heights – SmAlLeR (8): With SmAlLeR, we introduce a theme that Ashbury Heights seems to explore a lot more in the past than in the present. Relationships on the verge of breaking. This can be a bit of a problem in my enjoyment and I guess there will be some biases here and there (or everywhere) in the album because of it. This song is relatively not all that bad in comparison to some others, but there is a risk of this topic as it’s quite unlikely for me to enjoy it. So I apologize for now and in the future when I feel mixed on these songs’ lyrics.

 

I want to do everything I can to look at this song vaguely because I seem to enjoy picking songs apart and giving my own existential meaning to them, but that’s sometimes a slight bit difficult to do. I’d have to figure out who (or what) the taller man represents. Perhaps he represents the aspects of ourselves that we find discomforting and yet seem to take over our life at times, overwhelming us until our entire world seems to tower over us, threatening to collapse and bury us under the rubble. Ok, that’s actually a better interpretation than I intended to write. I think I’m going to stick with it.

 

Though if I’m to look at the song without infecting the view with my existential lenses, it’s likely the song is about a relationship in which the man appears to outgrow our singer and she begins to feel lost as her view of the world becomes less focused on the one person she’s with and more focused on the chaos of not knowing where one is going. An overwhelming chaos. Of course, this seems to imply that she’s distressed at his self-improvement instead of striving to follow in his footsteps (which is honestly a bit to negative for me. Self-improvement is something to be lauded, not frowned upon)… except the first verse speaks of his growing sadness and all-knowing tears… so yeah maybe this interpretation is wrong too… Was I actually right the first time? I was honestly just making it up on the spot.

 

Well, regardless, of what the lyrics mean, this song is once again a musical improvement. The song transitions a bit more smoothly than it has before. With a lot of focus on the bassline made up of a rapid-fire onslaught of lower notes that rise and lower to the mood of the song. They really prefer a stronger backbone for the rest of the song, including the melody. The melody feels a bit smoother too, introducing itself naturally by hiding subtly in the background when vocals are in the way and then playing a smooth descending melody. I feel it’s likely due to the synth choice, but if that synth choice works, then the song is better because of it.

 

Ashbury Heights – Stormbringer (6.5): …I have no idea what this song is about. Oh I pored over these lyrics thoroughly but I can’t find a hidden meaning behind this imagery of an apparently conscious storm with a calmness underneath. Does this represent how so many people have a harsh exterior that hides a vulnerable center? Maybe. Or maybe it’s just a story of a judgmental storm of a monster that insists on us all being well groomed and dressed nicely or it’s climb in our windows and kill us or eat us alive or something equally horrifying like suffocating our life’s dreams until our ambition shatters (actually considering what I’ve been focusing on lately, that’s the most horrifying thing I can think of).

 

So, seeing as I’m not going to receive anything but madness from these lyrics, the song stands to receive all of its judgment from being one of the faster paced songs on the album with choirs singing the distance. But what of the melodies? I speak a lot of melody work in this album, but this song has some arps that are worth mentioning too. Arps, when done well, have a great energy to them. This one is a bit subtler than some of the arps I mentioned back in the Mind.in.a.box – Lost Alone review, but I believe it complements the upbeat tempo quite well. The main melody, on the other hand, could use a bit more. It’s not bad, but it does feel a bit overshadowed by the rest of the song.

 

Ashbury Heights – Derrick Is A Strange Machine (3.25): Jealousy is quite a toxic emotion. Hidden jealousy can fester and weaken any existing bond between two people, mostly directed at the jealous person in question. Expressed jealousy won’t necessarily make the jealousy fade away. It will merely prevent the festering from fully infecting one’s mind and bring down the target of jealousy down a notch towards feeling guilty. And when you get three people involved in the jealousy in a love triangle… things get quite complicated (heaven forbid it become a love quadrilateral by introducing another party).

 

This song is all about jealousy and the singer’s opinions on Derrick. Feels like Anders may be calling out someone specific that he may be having jealousy issues with and I’m honestly finding the whole toxicity within this song to be rather off-putting. The song starts out healthily enough as he seems to be at peace with a broken relationship he has exited, but his all-consuming jealousy of Derrick and his insistence that the new boyfriend is nothing but trouble is not really all that enjoyable for me to listen to. Now, I have no clue about who is involved in this toxic love triangle or even if real people are involved. Heck, maybe Derrick truly is a strange machine that should be avoided at all costs. But for someone who continually says he doesn’t want to come between by obscenely tattling on Derrick’s past actions in an effort to ruin her love, he sure seems to do a lot of coming between by obscenely tattling on Derrick’s past actions in an effort to ruin her love.

 

Music is good though I guess, but the lyrics bring this down to the lowers score I’ve put in a review up to this point, though that might change later on…

 

Ashbury Heights – Cry Havoc (4.25): Anders, I seem to sense some hypocrisy here in these lyrics. But maybe that’s part of the point. Cry Havoc touches a bit on the toxic relationship theme of this album. In the verses, Anders calls out to a girl begging her to stop romanticizing the darkness within her soul. And yet, immediately as we get into the prechorus, the whole tone switches. Cut away at your life*** as your inner demons overtake you and savor your grievance. And then the chorus goes further to setting those monstrous demons free and let life devolve into chaos as both the singer and this girl he was begging to abandon the darkness only minutes ago embrace a life full of deception and death. Who’s romanticizing the darkness now? Like I said, hypocrisy abound in this song. And the darkness does reach levels that teeter a bit too close to the edge of max edginess. There are themes in here that I feel go down an unsafe route that one might find at the existential crossroads. And they do cause a massive deterioration in my opinion of the song.

 

So what of the music itself? The lyrics aren’t going to help very much with my opinion, but perhaps the music has some hidden within that I can enjoy. Well, unfortunately for the rating of this song, this one is rather average with the music. It does admittedly have a darker vibe to it, matching the tone of the lyrics, but how it reaches that darker tone isn’t exceptionally inspired. Basslines area bit harsher. Melodies are practically nonexistent except for this high-pitched synth that plays in the prechorus. And I don’t even really like it very much. The best part of the song is the melody in the bridge which is actually a bit more enjoyable. Also, the chorus is actually incredibly catchy, though I’d prefer if the message of the song wasn’t so mixed

 

***looking a bit closer at the cutting line, this might be referencing self-harm which I implore all to avoid under any circumstances. This is the wrong path to take. Seek something positive to overcome the darkness, find anyone you possibly can for support. I think I made it clear in that Mind.in.a.box review that you are never truly Lost Alone. No matter what, there is someone out there who understands your struggle. They might not be easy to find immediately, but they are out there.

 

Ashbury Heights – Swansong (1.25): Alright, so let’s see how dark we can go as this album progresses. Because this one is about a dying man who asks for the DJ to play one last song for him. Now, this dying man could be on his deathbed due to some severe illness… but this debut album does seem to have a fascination with the darkest parts of depression… and I fear that this death may be the end of a path filled with depression and despair. Contemplating suicide is a very dark place, one that I thankfully have been able to avoid thanks to my core values of self-improvement and change. I’m a bit concerned by the whole namedrop with this suicidal man desiring to hear a song by Ashbury Heights. Sounds like the duo sees themselves as popular with those who may turn suicidal. And I’m not certain how I feel about that. The whole song is lyrically hazy for me…

 

Perhaps we can find something in the music itself to enjoy. The main melody of this song fits the upbeat vibe quite well and I do quite enjoy the constant choir pad that is ever present in the song. There’s also a neat bassline that comes in here and there, but all of these are small elements of the song. And none of them can truly make me forgive the song for its lyrics. The audacity that Ashbury Heights has to theme this song around listening to it as one takes their final breaths is quite horrendous, which is why this song is rated so incredibly low, not because of the musical content but because of the horrifying implications.

 

Ashbury Heights – Illusion (2.5): Illusion is Ashbury Heights’ most sexual song and I don’t like it. As of this point in time, I haven’t really gone over some of the more sexual themes in music. Most of my favorite artists stay away from the topic and since I’m only reviewing my favorite artists, that makes sexual songs rare to review. But here we are. Early Ashbury Heights. They made this song and it has an uncomfortably creepy sexual theme to it.

 

So in procrastination of looking at the lyrics let’s look at the music. It’s a bit harsher than the rest of the songs on the album. There’s just a whole lot more grit to it. The drums, the bass, Anders’ vocals. Only Yasmine and a few synths are untouched by this grit and it kind of detracts from my enjoyment slightly. I can think of much worse examples of this type of edge. Ashbury Heights doesn’t go all the way to the screaming of Combichrist, but it still does irk me slightly.

 

I thought I might have something to say about the lyrics by now, but they just don’t appeal to me on any level and I can’t figure out how to explain any further than “overly creepy and sexual.” I’m sure some people out there might enjoy this type of stuff, but I’m not one of them.

 

Ashbury Heights – Angora Overdrive (6.5): Ok, so we’re back at our usually edgy Ashbury Heights love song. Well, I guess the last one was also an edgy Ashbury Heights love song, but that’s a whole different level of edgy. If each song on Ashbury Heights depicts a different relationship, this is actually one of the healthier ones. There’s very little angst here. Just two people who are devoted to each other, that feel they complete each other, that consider each other irreplaceable.

 

However, it doesn’t matter whether or not the relationship is edgy. The song is edgy anyway. No better way to start a romantic song than with the line “Porno movies could never substitute you.” It seems that Yasmine’s two verses depict the two sides of the coin when it comes to the relationship depicted here. First one is entirely physical, mostly focusing on comparisons to porn and how lust is what keeps the relationship going (at least it’s not falling apart). Second verse explores the cognitive depths of their minds more. I believe this verse tries to deconstruct what love is and fails to do so due to how complicated love can be.

 

Taking a look at Anders’ chorus there’s more of a neutral balance between the physical aspects and cognitive aspects of their love. And credit where credit is due, this works quite well, with the two drastically different verses. The meaning changes subtly depending on where you are in the song. The two are incredibly reliant each other both due to their physical needs and their cognitive needs. As edgy as the verses feel, this chorus is the most wholesome you’re gonna get from this album.

 

As far as the music goes (almost forgot about the music), it’s got a decent vibe but it’s nothing spectacular. The bassline has a good feel to it and there’s a synth that sounds slightly choirlike in the chorus that I enjoy. However, the main melody falls kind of flat for me, which really takes down much of the possible charm the song could have had.

 

Ashbury Heights – Corsair (5.5): Corsair is about doomed love. How uplifting… To be fair, it seems a lot of Ashbury Heights’ early stuff focuses on doomed love. Over time Anders and whatever female accompaniment he has at the time begin to lean towards more focus on the inner workings of the solitary mind (which I love), but for now, it’s edgy doomed for much of the album. This one in particular focuses on Anders pining over someone that might destroy his heart in the process (whether due to inaction, rejection or unhealthy relationship is unclear but none of them sound pleasant). The man constantly underestimates himself throughout the song, thinking he has no chance with her. On one hand, I’d tell the dude to just go for it, but judging from the rest of the toxic relationships on this album, perhaps he’d be better off single. But eh, that’s his decision. The lack of confidence doesn’t really help my opinion of the song though.

 

Don’t have much to say on this one musically for the most part. The melodies are mostly uninteresting. Only noticeable one is in the chorus and it’s rather repetitive. I do like the higher notes of Anders’ vocals in the prechorus though. I take a liking to male vocals that feel they suddenly reach up an octave beyond the regular range.

 

Ashbury Heights – Christ (5.25): If you think the fact that this song is named after Jesus, the son of God makes it a wholesome Christian song, then you are dead wrong. This is 2007 Ashbury Heights. Why would you expect anything else but maximum edginess? Yeah, this one goes across the edge of edgy for me like some of the other ones on the album (see Cry Havoc, Swansong and the upcoming aptly named track Suicide Anthem). However, those all cross the line in an uncomfortable way. You see, two roads diverge from that line of edginess and Christ takes the one less travelled by, and that makes it extremely laughable.

 

Yeah, this song tries a bit too hard to be edgy, but for some reason, the duo didn’t take the dark decrepit topics of the horrors of giving in to extreme depression. No, this song declares that you should praise Ashbury Heights for they’re basically your god now. Oh, but beware, they’re an evil god. SO EDGY! And I can’t help but laugh at the obscenity of the song. I apologize to Anders and Yasmine if they were trying to send some kind of message with this in the verses, but I can’t see the song as anything but a joke. A highly amusing joke, but a joke nonetheless.

 

Honestly, it’s so easy to get distracted by these likely unintentionally humorous lyrics, that I have troubles focusing on the musical details. It doesn’t really stand out but it ain’t bad either. I have nothing else to say about it.

 

Ashbury Heights – Suicide Anthem (3.25): Oh boy I wonder what this song is about? More, importantly does it handle the topic well? The answers to these questions are suicide and no. To be fair, it’s quite nearly impossible to deal with a subject as suicide with grace. It can be done, but Ashbury Heights doesn’t do it. They’re much better off backing up a bit and just dealing with existential depression itself (which they do in later albums, but we’re not talking about later albums right now, are we?). So yeah, when it comes to the lyrics, it can all be summed up as “Life sucks, No one loves me, I’m gonna go die now,” which sounds like an absolutely tasteless way to talk of suicide, but that’s exactly what this song does. It tastelessly speaks of suicide.

 

On the bright side, this song has a nice upbeat vibe with the occasional good melody. So, I’ll give it credit for that. Then again, Yasmine’s vocals are extra annoying this time around so any enjoyment this song is kind of negated by her (and the tasteless suicide).

 

Ashbury Heights – Penance (7.75): Huh, Penance is actually good. I mean, I shouldn’t be too surprised. There had already been several other good songs on the album, but the last several have been embarrassments to my claim of Ashbury Heights being one of my favorite artists/groups. But this song takes a step back into the right direction. Oh, don’t get me wrong. It’s still edgy, but I can’t really expect Ashbury Heights to not be edgy. I think they have only one song that I’d consider to be fully wholesome and it took over a decade for them to reach that point. At least this one talks of slightly brighter topics. Like how there’s suffering all around the world and we’re teetering on the edge of nihilism due to our brief mortality (Fun!).

 

I will agree that the world we live in is certainly more than imperfect. It can be easy to get caught up in the suffering and deception frequently mentioned within the song. Even the purest things can get distorted over time if not properly cared for. And if you look at the world from a religious standpoint, one might fear that the devil is in more control of the world than God (which, in a way, is true to the religion of Christianity, which advises followers to aspire not to live the ways of this flawed world. Of course, this song goes a few extra miles with that idea and claims God has abandoned us, which doesn’t quite match up as well). Regardless of how you view the world with this song in mind, it looks like the world is deteriorating and if we don’t do anything to change it, the world will continue to deteriorate into nothingness…

 

The music in this song is also pretty good, the main melody has a slightly chilling feel to it and the arp works well with the drumbeat to provide a good drive to the song. My only gripe, and maybe I’m crazy (wouldn’t be the first time), is that I have this weird feeling that the arp resembles Megalovania despite predating that song by several years. It’s such an odd association and it doesn’t necessarily detract from the song regardless of whether or not the resemblance is there. I only mention it because I want to check and see if anyone else can hear what I’m saying or if I’m just crazy.

 

Ashbury Heights – I Paint Nightscapes (8.5): I Paint Nightscapes is about the very lowest moments in life. The moments where not only depression has a hold on you, but it’s nearly suffocating. The darkest one can go, without resorting to the less savory themes in this album (you know the ones. I’ve been complaining about their callousness for quite a while now).

 

Seeing as my enjoyment of the song mostly stems from the lyrics, I’m going to skip talking about the music and focus solely on vocals (not saying the music is bad, it’s just overshadowed. Even my favorite nonlyrical part of the song is the backing vocals in the chorus. Guess the piano bit in the bridge is cool too). This song, as you may have noticed from the rating, is certainly the most outstanding on the album, mostly because it actually resembles the message and tone that I love from more modern Ashbury Heights songs. Yes, it’s overall kind of depressing, which is fairly normal for Ashbury Heights. I feel like they’re best as an accompaniment to those low moments one experiences, those moments when it feels like the grip of negativity is unflinching and you’d give anything to reach a reality in which you could view your life more positively. This song truly focuses on those deepest depths of depression without actually going overboard, which if you remember from my introduction a while back in this review, is precisely why I consider Ashbury Heights to be among my favorites in the first place. This album doesn’t necessarily reflect that love, but this song definitely does.

 

Ashbury Heights – Eternity at an End (5.75): Eternity at an End is a great name for a closing song of an album, which is good because this is the closing song of the album. However, unfortunately, the lyric that really strikes me most here is “Long live mediocrity” and the only reason I’m pointing out that one is because it fits the whole mediocre feeling I have towards this song. Well, maybe a bit better than mediocre (as that’s my definition for a 3/5), but it does feel like it’s rather run of the mill. The tempo of the song is quite average, neither reaching those higher tempos like in Stormbringer or I Paint Nightscapes, nor the slower tempos like in Waste of Love or Cry Havoc. And while I do enjoy the arp… I always enjoy arps, The rest of the song is mostly unremarkable. I just like arps.

 

As for the lyrics, it’s a fairly bleak song. You can’t do anything in this mediocre world. There is no god and there is no meaning. Life is going to end and there is nothing you can do about it. Honor is dead and someday you will be too. And while it is easy to get caught in this line of thinking in this hectic world, I highly do not recommend it from experience. Because if you strip all meaning away from the world around you, what is left when even eternity ends?

 

Conclusion: And so, concludes the worst album of Ashbury Heights. This is one of those times where I begin to reconsider whether or not it truly is a good idea to do each discography in chronological order, but clearly, I did it because here we are. There are a few gems here and there dotted throughout the album. SmAlLeR and I Paint Nightscapes are both fantastically introspective songs. However, anything that is good in this album is cancelled out by another song that is downright awful like Swansong and Suicide Anthem.

 

And those awful songs really kill the album, holding it back at an average rating despite having some pretty solid songs. I believe the worst song of the album is definitely Swansong, not because of its musical quality, but because of how it paints the rest of the album. I believe that suicide is a very sensitive topic that should be handled with care and caution. The overwhelming callousness displayed in this album worries me of the possibility that someone might choose a song like Suicide Anthem as their swansong as they head to their self-inflicted death. I think I’ve made this clear several times in this review, but I feel quite strongly against suicide and while I’m sure my reach as a small blogger with giant music reviews is small, I would like to do my best to urge you to give life another shot. It can always get better even when all seems hopeless.

 

Final Score: (5.5/10)